AAA Game Props Making For Beginners: Radio & Headphone

1. Introduction: Hello everybody. My name is Arthur Ashe and I'll be your instructor in this tutorial. Do you want to learn how to make props for games? So welcome to next, AAA prop making for games, the beginners course. And this course we're going to create a radio ad, a headphone. And we're going to create that using Blender as the main DCC and ZBrush, poor, high-quality sculpting and Substance Painter for texturing. And although we're trying to make that as beginner friendly as possible, but I really encourage you to have some prior knowledge of the software as mentioned. And we're going to use some blender atoms, but we make sure that we use none of the atoms, all of the atoms that we use are going to be the free ones to make the blender experience a lot better and to develop a workflow and pipeline for your next project. So the workflow that we're going to go is the non-destructive workflow. And it means that when we design something, we're going to rely on multi-part stack to make sure that everywhere that we're going to change something, we're going to do that so fast in no time. And accompanying with the Boolean workflow, we made sure that we can create every complex design possible. So we start by taking a look at the references and some ideas. We take those ideas and try to create something based on using the mid colleague workflow, then that metal is going to be transferred into ZBrush for sculpting. And then after that, we create a locally from the same thing from the mid poly and then unwrapping in Blender. And then the final part, the baking and the texturing process are going to be done in Substance Painter. And lastly, to make sure that everything is going to be fine, we test the prop inside Unreal Engine. So if you're interested enough in learning some tests that workflow for creating AAA props for games. Join me in this one. I'm a rash from next door, looking forward to have a great learning experience together. Okay, see you in the course. 2. Download Project Files: Hello everybody, and welcome to this course. Now, this is the final product that we are going to be creating after all of the process that we do. This is the final result number of coding this after finishing the tutorial. And the purpose of this video is to show you the final result. To show you what's the final result. And take a look at it so that you have an idea of what we are going to be creating. We're going to create a radio mesh and a headphone mesh, all for the game development. And we're going to have the optimization for a game engine. And it's good to note that this tutorial ships with some project files that you can download and start to use them. The first file that is seen here is a blender add-on list that we're going to install in the next lessons. So put the link of most of them in here, those ones that we are going to download from that there are some add-ons that are shipping with Blender by default, we're going to enable them in Blender, but there are some add-ons in here that we're going to install and the links are in here. Then this final folder, we have couple of files. One is the Alphas that we use for texturing process, e.g. this play pause, stop. And these ones that you've seen here have been used throughout the texturing process, e.g. the play pause and stop. You see them in here. If you want to get the exact same result, you can use them. But also if you do not want, we will learn how to make these and I'll start to use them. And then we got some textures. And these textures, you see, we have used them in here, this one, this one, and this one in here to be used as emissive channel so that these ones emit light. And if we go in here in the massive channel, let me bring up the radio. And in here we have the emissive channel. And it means that there are light going to be emitted in these colors from this object. And I have included these ones as well. If you want to follow the same thing and create the same result, you are free to do that. Then the final result in here is that static mesh radio, which is this radio, static much headphone, which is this one. Then all of the export a texture for the final result, you see these are the exported textures, channel map textures that we learn how to use them. And this one belongs to the radio. See all of the information is packed in here. I have included those ones as well. If you want to try to test them in Unreal Engine or any other engine, you're free to do that. Now, this is about downloading the project files that you can do and using the resources in that. And also make sure that you use this blender add-on text. I've included the link to some of the useful blender free add-ons that you can use and we will use throughout the project. Okay, see you in the next one where we start to customize blender for a better experience. So see you there. 3. Installing Free Addons: Okay everybody. Now we are in Blender and the version is 3.4, 0.1, which is the latest release. By the time of the recording of this tutorial, we're going to use Blender for the main DCC and some other softwares as well. But since we're going to spend a lot of time in Blender, we're going to customize it as much as possible to make our lives a lot easier when working inside Blender. Of course, we're going to use some add-ons. Do not worry. We're not going to use paid add-ons, but instead we're going to use some default Blender add-ons that ship with blender, which we're going to enable them using this menu. And of course, some more free add-ons that we're going to download. They do not ship with Blender by default, but do not worry, they are free and you are not forced to pay anything. So first, let's go see how blender works. And of course, we really expect you to have some prior knowledge of 3D in general and of course in Blender, to see how to move things, how to move around in the scene, how to save and all kinds of things. But in order to make sure that everybody is on the same page, we're going to do a short review of the primary tools that you are seeing here. So in order to pan around the scene, you just hold down the mouse wheel and move it and you're able to move around the scene, pan around the scene. Excuse me. If you're going to pan around, you just hold down Shift and using the mouse will just drag them both. And you are able to pan around. And if you're going to rotate around, you just hold down the mouse wheel alone and you're able to pan around the scene and to rotate around the object. To zoom in and out. You just roll up the mouse wheel to zoom out. Just roll down the mouse wheel to zoom out, in and out. But there's an option if you are going to zoom on where you have the mouse wheel, mouse pointer, there's an option that you are going to activate and that is available in here and edit preferences. And I believe that it should be in navigation. And that is the Zoom mouse position. So if you enable it, wherever you put your mouse cursor, It's going to zoom to that point. You see the activating this. If I go and deactivate. Now, only zooming to the center of the screen no matter where I put the mouse cursor. But if I enable that using this checkbox, you see that wherever I point my mouse, it's going to zoom out to that position, e.g. let's say that this is the center of the screen. But if I put my mouse in here and try to Zoom, it's going to zoom on where I have the mouse. So this is something that I like to turn on by default. Okay, let's close this one out. Now let's talk about moving, rotating, and scaling stuff. When you select something, e.g. this default cube, if you hit G to move, G is for Grab, then S, S for scale, and then R is for rotate. Of course. I really like to use the gizmo instead of using shortcuts. E.g. I. Love to have this gizmo in here and to be able to move, rotate, and scale in certain directions. Since I'm used to that way. But if you're going to use the default ones, G is for move, as is for scale, and R is for rotate. But what if you're going to move rotate and scale in certain directions, e.g. if I'm going to move only on x, just you hit G. And then constraint by hitting X on the keyboard so that it constraints the movement to x. And if you are going to move it up and down, you hit Z. And if you're going to move either way, you just hit Y. So X, Y, and Z are there to appoint this directions, e.g. now I'm going to hit a scale, but I'm only going to scale that along x. So I hit x, excuse me, hit S to scale that. And now if I tried to scale it, you see that it's scaling proportionally, but I do not want that e.g. I want to scale it along y. So we hit Y. Now the scaling is only happening along way. Or if you wanted along z, or if we want along x. And now there's the rotation as well. Now I want to align it or rotate it, a line Z. This is a line z. This is along y, and this is along x. So g, S, and R are four, move, scale and rotate at x, y and z are in which starch and you're actually going to do that manipulation. If you move it in someplace else, e.g. you move it in here, if you are going to bring it back into the center of the world, you just Alt and g, it brings it back and removes any location value that you have is now the location has these values. If you hit Alt and G, It's going to remove that. The same goes for scaling as well. If you hit Alt and S Now it's going to clear any scale the data that you have under rotation as well. If you rotate it to something like this, if you hit Alt and it's going to revert it back to the default delays. So fault with those manipulation keys will revert them back. Of course, we're going to manipulate some of these shortcuts for a better workflow, but these are the default ones. If you're going to go into the Edit mode, you just hit Tab and go e.g. select these vertices. If you hit two, you go to edge mode, and if you hit three, you're going to face mode. And you are able to do the same thing using G, S, and R for rotate, scale and moving. And then the same goes on that one as well. If you're going to constrain that to a certain direction, you just use x, y, and z to do that. Now, this was for the default Blender navigation. So simple. Now we are going to activate some plug-ins and add-ons that are going to make our lives a lot easier when working inside Blender. So the first add-ons live inside Blender and they ship with Blender by default. And one of the best atoms is the 3D pie menu. Let me see that is here. 3d view port pie menus. And using this menu, we are able to select from the menu. E.g. control a is for transformations, for rotation and scale and location. And remember that if we scale this one, e.g. along x, this value changes. And for some plugins and some maneuvers, this value should always be one by one by one to be the default one. Now if we hit Alt and S, It reverts it back to the default place, but the scaling is gone as well. If you're going to keep that and do the manipulations, we're gonna hold down control and a and then apply the scale. So this one becomes the default one. And if I hit Alt and again multiple times and nothing happens because now this is the default value. If I go back, let me remove this one by hitting X and deleting that. If I bring in the default cube again and scaling along x, if I go in, e.g. it's like this 100 control and B, it doesn't work. Like we wanted you to see that the shampooing is off because blunder doesn't know that the fault, the scale of this one. And in order to get a better shampooing or beveling, we go and it controlling a and apply the scale. Now if I go in and try to take this the same edge and it control and B, we see now the chamfer is more uniform and is round shape, just like this one that we expect from the shampooing to work. These biomolecules work so well and make your life a lot easier. So another one that we use a lot is the loop tools. So we're going to activate that. This is going to help us a lot in creation of a lot of things. So now let's go in and try to hit Control R and add a lot of segments and using here as well. Now let's say that we're going to make a circle out of these. I just select these and right-click and we go to look tools and we hit circle. It tries to form this one into a circle without actually using two or needing to do a Boolean. And that has a lot of functionalities. You can spend a bit of time, go there and see how that works. Okay, Now, speaking of booleans, we're going to use a lot of Booleans in this tutorial. To default Boolean workflow is selecting this one, going in the Modifiers tab, Add Modifier, and add a Boolean, and then select the Boolean object, e.g. now we do not have any. Let me go select this cube and let's make it a bit smaller and move it to here. Okay, now, I'm going to apply the transformations value by applying the scale and location because we changed the location. Let's not do that. Let's hit Control and Z to bring that pivot back to its place. Okay, now we select this one, and I want the Boolean to be indifference. So I hit this picker and change the Boolean. And now you see the Boolean is done. But since we have this one in place, I'm going to apply this. And if I move that, you see the boolean has been done, but it's not so intuitive. So one quick way to do that is to use the bull. The bull to is another great add-on that ships with Blender. You're going to activate it, go to preference and this add-ons, and just go for bool tools. It looks like it's activated and if you do not have it activated, just check it on. And now it makes the Boolean creation a lot easier. So now we do the same thing. I'm going to bring this back. Now, when we have this one selected, this is the main object. And you see the color is something like an orange. If I select this one, you see now this becomes the active. And every thing that I do is gonna be done on this active one. So the Boolean or bool tool works in a way that we select two objects and it control and minus. Now you see now this one is the Boolean object and it's real time. And it means that if I select this one and move it, it's going to do whatever we want to do with it. So if I go in here and try to select these and try to chamfer the edges. You see now, the Boolean is live and it works as expected. But this is the difference Boolean, you can use other types of Booleans as well, e.g. if I select this one, which is the active object, if I go to union, it's going to connect them to each other. You see creating this and joining these two objects. If I disable that, or if I disable the boolean itself now. And then the Intersect is going to keep the connection points. You see now, this is the one that it removes when we are using union, but they intersect is going to do the reverse. It's going to calculate the place that they have collide with each other and keep that point. Now, let's bring this back. And I'm going to remove this one as well. And now let's bring in another cube so that we have these in place. Now I'm going to do the reverse. I'm going to take this one and this one as the last object, so that this becomes the active. And now if I hit control and minus this Boolean happens, the main ones are different, union and intersect. But of course there are some more things that you can use using this one, e.g. if I go to this Boolean, I can go in and try to sharper this edge to make it a bit rounded. And if you see some of these faceted edges, it's because of the normals. If I select this one, go into the normals by going into Object Data Properties and going into normals, hit auto smooth by 30 degrees and selecting this one as well by going to hear or smooth by 30 degrees. And now I just select this one, right-click Shade Smooth. Now you see the shading is gone. If I select this one as well, Shade smooth, I need to activate that. So now the shading problem is gone. Okay, now I'm gonna go select this one. And I mean the cutter. This one is called the cutter that we cut into the main shape. And since the Boolean is active, I can take this one and try to real-time really change this one to a design that I want, e.g. if I'm going to bring it here, it's gonna be just like this. Now, I'm gonna go and bring in a solidify modifier. Now you see this cuts into the mesh and changes the Boolean to the slice one. Cut something into the mesh without deleting any geometry or things like that. This one is available to you. And if I try to increase this, it's going to increase or decrease the size of the cutter. And this one is going to decide on the size of the color. One is another technique that you can use to use the booleans. Of course, in the process of the tutorial, we're gonna talk more about the Booleans and stuff, but bear with me for now. This is something that you need to know. So now this one is real-time as well. If you're going to activate it, you're going to apply the modifier. And if I take this one and go in, you see now nothing happens because the Boolean hasn't been applied. This is one advantage as well, because this is non-destructive and I can do a lot of things with it. E.g. I. Can go in here, add a bevel modifier. And now you see everywhere that I have that the bevel modifier has been added as well. But now you see that in these areas that we have the Boolean, we do not have that because, because the modifiers work in a way that the bottom one is the last one. And now we have the bevel modifier, which adds a bubble to everything that we have in here. And then we have the Boolean. Boolean has not been bubbled. But if I take this one and drag it down the Boolean, you see now the boolean has been doubled as well because first one, we use the Boolean and then we use the bubble to chamfer all of the edges to give it a bit of hard surface look. Now let's bring some segments. Some more segments we go into shading. Or the normals. And this is something like a hard surface thing for free. And that is intuitive as well. You can take it and do whatever you want to do with it, change the design, or see what you can come up with. There are some more add-ons that you can use and activate by default. Again, he go to Edit Preferences. And in this menu, the one is F2 tools. It has a lot of functionalities that you can use. An another one is the tiny mesh CAT tools. Another one that we'll use later on when we create the UVs is called the magic UB. For now, do not worry about this. We will explain them later on when the time comes. So it's good to know that it can activate these and use them. So this one was for the default Blender add-ons. There are some more items that you can download from net, but do not worry, since not everybody is able to purchase these. We are introducing a set of free add-ons that you can use to improve your workflow. The first one covers one of the blender requests that features, and that is the ability to select the back faces, e.g. if we go in, if I select this one and hit tab and try to select something, you see now, only this one gets selected. And now not the back face measures gets selected. And if I tried to select from here, you see now the only thing that is available to the camera gets selected. We're going to use the default Blender workflow. You just need to select the mesh, go into edit mode. And now you see, again, we're not able to select what's behind the mesh. In order to select what's behind the mesh, you simply hit Alt and z. So the mesh becomes see-through. And if you select, you see that everything on the mesh becomes selected. If you want to go back to the default one, Altman's Z again, but this is not what actually we want. We want a faster workflow to be able to select the mesh on the go without actually hitting any extra shortcut. So now the add-on that enables us to do so is called the X-ray selection tool. The link is in here, and the plug-in is for free. You go in here and hit zero and purchase it. And you said this is the way that it works. It activates the Alt and z by default so that we're able to select what's behind the mesh without actually needing to hit any extra shortcut. So here I want this and hit zero in here so that you pay nothing. So now in here, you're just going to enter an email and get that. So now I'm going to enter mine and it get this is the one, this is the latest version, 4.3, 0.1. And all you need to do is hitting the Download button. And it just gives you a zip file that you're going to install in Blender. So just copy the direction that you want, that you have these files n. And then we go in Blender, go to Edit Preferences. And in this add-ons, instead of using this menu, we're gonna go to Install and then simply head over to where you have downloaded this and had installed add-on. So now it installed it perfectly. They go in here. And this is the one we activated. And it says that it becomes active by hitting B, C, and L to either activate the box circle or lasso. Now, let's go in here, select this one, and go into edit mode. And now if I hit B, I'm able to see and select what's in here. And if I hit C, I'm able to circle, select an a. If I hit L, let me deselect anything. The Lasso Select becomes available and I'm able to select what's behind the mesh. And another one that I'm really used to is by hitting W to toggle this one and go in here. And now this is the box X-ray. Now, without needing to hit any extra shortcut, you are able to select what's behind the mesh. This one is the one that I'm really used to and I do not use the BCA or L. I just hit W to cycle through these. And if you hold down the mouse will, excuse mouse click on this. You are able to see the box x-ray, the circle x-ray and lasso x-ray. And with the default ones that do not use the box one. The X-ray one, excuse me. So now the W2 cycled through and this is the one that I'm really liking to work with. So this becomes one of my defaults that are really use on every project. And after installing that, go to this menu and it's saved preferences to save it and get it back. When you opened reopened lender, you do not need to activate these anymore. They are activated by default. So next one that we're going to install is called the interactive tool. That is awesome for working with pivots. And it has some more functionalities that we're going to use, but it's hosted somewhere else. So this is the link. It's hosted in GitHub, and this is it. In order to download it, you just go into code and hit Download zip. And it gives you this one interactive tool. And then you're going to go and enable it. First you need to install. So we go into Edit and Preferences and install. And it brings us to the same one. So this interactive tool and it installed, and it becomes installed and you need to enable it. Now to get the functionalities in here in the main menu, you need to hit N. And this is the interactive tool that you can use. Some of the functionalities are getting used, often, like this, Quick origin and edit origin. And some of them not that much. It, some of them that I use regularly, we're going to assign some shortcuts for and some of them that we do not use regularly. We bring them to quit favorite menu and click February menu is available by hitting Q. So right now we do not have anything. So now let's say that this Quick origin, we're going to add it to quick favorites. So right-click and add two quick favorites. And now if I hit Q, the origin becomes activated. So this is how we add things into quick favorite menus. So I'm going to remove that. And later on we assign shortcuts for these, especially these quick origin and edit origin so that we change the pivot point to wherever we want. And we're going to talk about it later on. For now, do not worry. This is the installation and I can hit N again to close that and get the default Blender viewport. And another one that we use very often is the machine tools. It's an awesome plugin that you can download it for free. And the link is in here. And don't worry again, in the project files, you'll find this blender add-ons text. All of the links to download these have been stored in here. You can take them and download them. Again. In order to download this, you hit the standard version, and in here you hit zero and hit Enter or hit. I want this. Again, you need to enter your email and it gets, This is the latest version that you can download. And again, move the zip file to this directory where I can install it. So again, we go to Edit Preferences and hidden star. This is it. Hit install add-on, and now you activate it. And this is one of the most complex ones. It has a lot of functionalities and a lot of settings. That's awesome add-on that you can use. But since it has a lot of settings to be changed, we will do that later on, but this is the way to install it. And right away you see that as the modes pi and the focus. So let's see how these two, if I select this one and hold down tab, you see now, instead of going into edit mode, I get these menus, which I can go into vertex mode. Or now I can go out to object mode. It becomes a lot more intuitive and a lot easier to work with. Another great thing that it adds is the ability to focus. You see now in here, the focus is activated by default. If you go so far away in here and it F, it's going to bring you back to where you have selected the thing. And you see now the machine tool focus has been activated. And if you're going to isolate some things, again, let me bring cylinder. And let's bring another quad sphere. Let's say that we are going to separate these two and start to work on them without actually seeing this box. I select these and it controlling F. It brings us to the focus level one. And again, we can go select this one, hit Control and F, It brings us to the focus level two and so on. You can isolate things and start to work on them this way. By hitting Control F without actually selecting anything, it brings you back to where you were before. It's a great add-on. And I highly encourage you to spend some time in it and see how you incorporate that into your own advantage. The next one that we're going to use, the edge flow and each curve. So we can download them from here, from GitHub, go into this edge flow zip file. It's going to download it for you. And then this one is in here. You can go download this as well. And these two are the files that downloaded. So now again, we're gonna go Edit Preferences, Add-ons and hit Install. First we need to hit edge flow, activate and then hit Install and select this one edge curve and activated. One way to demonstrate how that works is by bringing the fault plane. Now, let's go into edge mode. And now I'm going to add some vertices. I had control an R and bring down the mouse wheel to add some vertices. And now I take this one and drag it up and take this one as well. Drag it up to like this one and this one as well and drag it up. And let's say that we do something like this. But let's say that we're going to make this a bit rounder. So in order to be a bit better, I'm adding some more edges. I go in here, select all of these. And now we go right-click in here. It's that edge flow. You hit that. And it's gonna make it a bit rounder. And now we can work with tension, iteration and Min and max angle to get what you want. But this is so useful in making the edge flow a bit rounder. Okay, Now hit X again to delete that and control and F to go back to the defaults place. And control works if you have installed the machine tools. Remember that? The next one is called the cake. It, it also has some amazing features that you can use. So again, we can go in here, it's zero and pay. Again the same thing. You're going to enter your email and get that for free. So this is the download. It gives you this zip file. And then again, we need to go and install it. It's in here, install add-on, and then activate it again. It can access a lot of the features by hitting N. And you see now the cute kid has been added and it has a lot of functionalities that you can use. Then I really encourage you to spend some time, see what it does and see how we can use it to your own advantage. Of course, now this is the installation. Later on, we might use some of the features in here. So the next one is called the material itself. It's a great add-on. I use it on every project. It makes the material work a bit easier, especially assigning materials on objects, which is so important. So again here, this code and download the zip. And when it's downloaded, you get this material utilities master. So again, we need to go and edit preferences and install. And this is it, the material utilities. And let's activate this one. Now the shortcut for that is Shift Q, HER queue. And you have this material utilities. You can assign materials. You can select a material, e.g. you have two objects that have the same material. You can select them so easily, e.g. let's take this one go-to material mode, or using the Shift Q, you can add a new material. Let's call this 101. Now I'm going to select this one, Shift Q. And instead of creating a new material, I can use existing materials, e.g. select this one and make it 01, which is perfect for baking, layer on. Now let's say that we are able to select anything in here that uses the zero-one material. We go in here, Shift Q, select by material and it's 01. All of the objects that use this one gets selected. It's an awesome add-on. You can use it and I use it on every project. The next one is text tools. This one is awesome as well. It has a lot of cool functionalities. And I believe that it's one of the oldest add-ons that have been created over. And it's still living and got updated recently. So download this and do not worry, I have shared the link in the text file. You can simply copy and paste them. These are the links and you can take them and use them. Now, let's download this one. We go to code, Download Zip. It's called the UV squares, and you get this one and the text tool. These are for working with the UVs. So again, we go into Edit Preferences and install texts to install it. You get it. And it works in the UV section, which we're going to talk about later on. That again, this UV squares as well as awesome for creating perfect UV, which we're going to use later on. Another one that we're going to use is called the UV toolkit. It's for free as well. Zero, you simply download it. And this is the file. Again, we need to go in here. And a UV toolkit installed, add-on and hit Okay, the next one as well as for UVs and for packing the UVs. It's an awesome plugin that are used on almost every project that I do whenever I'm going to pack the UVs. This is my go-to. It's free and it's a very powerful one. And this is the directory to download it. Go download the zip file, and it needs another extra thing that are going to download. You'll simply Control C in here and then paste it in here. Then you get two files. One of them is the blender add-on, and one of them is the EXE file. So I go in here and then extract the files because we need them. And just have this directory. We go to install and find the blender add-on install. Hit, Okay? And there's another step that we need to do in order to activate this plugin. So in order to do that, let me take this one, e.g. now, I'm going to remove anything in here and drag a window out and bring in the UV editor. Again, we hit N. And this is the UV Packer. And this is the UV toolkit and UV squares and text tools and magic UV, which we're going to talk about later on. So now in order to pack, we go into edit mode. And now let's see anything. Let's bring the box x-ray and select everything. And now let's say pack. It gives an error. And it says that we should place the eggs, a file in this direction. It says that executable should be placed in this direction. So it's your app data roaming Blender, blender, 3.4 scripts, add-on, UV Packer. You need to place that file in there. It means that we're gonna go in here, select this file, this XD, and this is directory that you need to go, you go into User's app data. Users, of course, your name, AppData, roaming, Blender Foundation Blender, 3.4 scripts, add-ons. And this is the UV packer is simply open this and paste the file in here. Now you need to restart the blender in order for this one to work. So now I'm closing blender and opening that up again for this one to work. Okay, Now we're back. Let's go into edit mode and select anything in here. And now it pack. You see now the packing algorithm works perfect. Then this one has been installed as well. So now this was about installing the extra add-ons to make it a lot more useful. In the next one, we will go and see how we could use those add-ons into creating a good workflow for using insight Lander. Okay, see you there. 4. More Addons And UI: Okay, Now we started or finished installing the arrows and now it's time to go and do some more manipulations in the add-ons and blender viewport as well. The first thing that I'm going to do is going into Edit Preferences. And in here, in navigation, you're going to activate the depth. It's gonna be more natural when you rotate around things. One more thing I'd like to activate, and that is optional is orbital round selection. So that when you select something, this becomes the pivot point of the scene. And everything revolves around this one instead of going and rotating around center of the screen. These are two optional things that you might want to activate. And if we're going to activate different shading modes that are available in here when we have wireframe, which is showing the wireframe. The next one is the solid, which is perfect for modelling. The next one is material view. And here you see that if we go in here and change something, e.g. the base color, this one changes to something that we have. Okay, now if we go back to Solid mode, we do not see anything because there's only gets shown in the material view or the rendered view which we have, the lighting and anything, all of them setup. A shortcut for changing them is z. You just hold down z and then you get rendered solid view wireframe and the material preview. And most of the times we're staying in the solid view just to model things out. Now there's something that you keep in mind and that is a lot of times the shortcut that you said on the object node, which is in here in layout, when you are able to track the object itself and move it. And when you go into the Edit mode are different. One of them is the pivot that we're going to create a shortcut for now. So now I'm gonna go to interactive tools and then we have this quick origin. Quick origin is going to create the pivot based on the center of what the select. If we go and select it in the object mode in here, it's going to center the pivot and the center of the object. But if we go in here, e.g. it could go select the face. It's going to place the pivot and the center of this face. Or if we select an edge, it's going to place the pivot in the center of this edge. Or if we go and select a vertices, it's going to place it exactly on top of this vertices. So now the shortcut that I'm using for this one is also an S. But that's your card has been already in use by resetting the scale. If I scale this one, I need alt and S. It's going to clear the escape. So now I'm going to remove that. We're gonna go into preference and K-map and inherit key bindings or name. We just need to find a clear scale. So clear scale, and see that in object mode, clear scale, the shortcut for it is Alton S. So now I think I'll remove that. And if I try to bring this one up and hit Alt and S, You see now no longer we're getting that behavior, it's not clearing the escape and we're staying in the same place. And now I'm gonna go in here, Quick origin, right-click and assign a shortcut. And in here I'm going to hit Alt S. Now, Let's do some changes. E.g. I'm going to go into edit mode. Take this edge. I'm going to make the object a bit bigger, e.g. something like this. And now you see the pivot is this point in here. If we go into move mode, you see that the pivot is in here. Now if I hit Alt and S, it's going to bring it back to the central bit as best as it could. Now, let's quick origin. If we go into edit mode, is not going to work. Just like that. If I go in here and hit Alt and S, It's not going to do anything. But instead, it's going to do something like this, which I do not want. So I'm going to go and right-click on this one, assign a shortcut, and you see we do not have a shortcut for it is quick origin in the edit mode, but in object mode we have a shortcut. So you should keep in mind that there are some times that the shortcut in the edit mode and object mode needs to be set properly and separately. Okay, now I'm gonna go right-click on this one, assign a shortcut, Alt and S. Now if I hit Alt and as you see, we do not do anything. And that is because we need to go into edit mode and find the Alt and S that is in the edit mode. So now we're gonna go for key binding and hit Alt and S. Now you say an object mode. It has been such a quick origin, which is perfect. And now let's go in the mesh mode or edit mode. You see that it's shrink and flatten, which was correct. And now we have Quick origin set to that as well. But if we are going to use this one, we need to remove this. So I'm going to remove now we only have the Quick origin in here, which is also an S. Now, if I go into edit mode and just take a look at this quick small orange dot, which is the pivot point. If I hit Alt and S, it's going to bring the pivot to here. Now the pivot has been moved. And if I go into object mode, I'm able to move the object from this point. Or if I go in and try to go into face mode, select this face. And it also an S. It's going to bring the pivot in here. If I go in the edge mode again and hit Alt, and it's going to bring the pivot right in the center of this. And that is very important. And this is the bare-bones of my workflow. By changing the pivot, we're going to do a lot of things. Now, let's delete this one. And another one that I'm going to activate is the ability to use the gizmos. I'm going to use the gizmo instead of the blender defaults, which is dragging the thing right away. So I'm going to hit G and get the move a and get rotate. And it has excuse, excuse me, are and get rotate and it s and get a scale. But in this way, we're able to only get the proportional thing in here, but I'm wanting to bring the gizmos in here, which I'm actually used to. So now we're gonna go in here and the preference, and let's hit G. Remember, remember that we have the key binding in here. So in here, we need to find the object mode or not the object mode. I believe it's in 3D view port there. It's in here. It's, gee, I want to change this to double G instead of one G. Let's just expand this. And now we have this G. I need to select this one and set it to double-click. And it means that when we hit double G, we're getting the default Blender movement. And now if I go in here in the move and assign a shortcut to G, You see that if I select this one and hit G, I'm able to get the gizmo. Now if I hit double G, I'm able to move just like the blender does. But my preference is to work with their gizmo. Yours might be different, but this is really used to do. So. Now let's go do for the rotate. And the key for rotate is r. So in here, Let's go find r, and it should be in the 3D view. Let's expand this. And I'm going to, instead of press hit W. And now we need to hit WOR to activate the default Blender rotation. And now I'm going to click on this one, assigned a shortcut and hit R. And now if I hit R, we see the gizmo and we're able to revolve around the pivot. Now if I hit double or we are able to do the blender default, which is using x, y, and z to constrain the movement to a vector. But in this rotation, I'm really a lot easier to work this way. Now, let's go for scale. And then in here, scale is S. So let's find it in the 3D view and it's precise. Okay, now I need to expand this one again and hit double and double as we're getting the default Blender style scale. So now let's right-click on this, assign a shortcut and make this 11. Now if I hit S, I'm able to scale it using this gizmos. And if I hit double as I'm able to get it at a scale, it just like the blender defaults. Of course, this is my preferred way of doing things. Yours might be different. And again, after changing, we go in here. Now again, I believe we should set the move, scale and rotation for the edit mode as well for the modeling tab. Because the object mode, if we hit G, S, and R, We're getting the gizmos. But if we go into edit mode, e.g. let's select these vertices and hit G. Nothing happens. If I hit S, I do not get that gizmo, and if I hit R, we do not get anything as well. Let's go into edit mode and preference. Again in here, we're going to go for K binding. I'm going to hit G. And this time you are going to go for mesh mode. Or it's not doing anything because the shortcut is not here. Now let's go in here. On the move, we're going to assign a shortcut. I'm going to hit G. And for rotate, we're going to assign a shortcut, which is R. Then for scale, you're going to assign a shortcut which is S. Now if I hit G, we're getting the move. If I had S, We're getting this scale. And if I had are, we're getting the rotation. Now, let's hit G to move it. If I hit double g, we are getting the default Blender. And if I hit triple G in this way, we're getting the slide, which is a sliding the vertices alongside the existing geometry that we have here. The g1g brings up the gizmo double G brings up the default Blender, which you can constrained to a certain vector. And the triple G is going to activate the slide mode. Okay? Okay, now let's talk about the appointment use and its parameters are available using their shortcuts, e.g. if I had control and a, we are familiar with this one. We have the ability to change. Or applied a location rotation or scale or apply all of them or whatever you want to do with it. There are more of these, e.g. if I hit Shift Spacebar, we're getting the play or animation Pi. We're not going to use this because we're not going to animate anything. This is a static probe and we're not going to animate anything. So I'm going to remove that and replace those with some other pies. Okay, let's go in here, Edit preference, and we're gonna go to Add-ons. Then there should be the PI, the viewport pie menus. First one, we do not need to have the animation Pi. I'm going to remove it. And the reason being is that we're going to replace these with other things. This one is going to be replaced as well aligned pie with a better one. The next one is the manipulator, which we do not use. If I go in here, the shortcut is Alt and a spacebar. If I hit Alt, Enter or Spacebar, we get this translate rotate scale and these kinds of things which we activated by G, S, and R. And we do not want that, we can replace it with another one. So now let's go deactivate it. And then this one as well, origin pi, deactivated that. And select pie as well. We're going to replace it with all those other things. This alt and the space-bar as well, we removed. So now there's another important concept which is the snapping. E.g. you're going to make this one the active elements. Let me go in here. Take this one also an S to make it the active one. Let's say that we're going to snap this vertices to this vertices to detach them, important to attach them to each other. And snappy is set to Control Shift and Tab. If you hit it, you get the snap. Now I'm gonna go for vertex and active, okay? Now if I select this one, the active vertices is going to snap to this. But it's not going to snap because the snapping mode hasn't been activated. So we go to Snap. And if I take this one, it snaps to these vertices. Okay? You see that this is what is happening, but I'm going to change that to another shortcut. So let's go in here, preference. And now let's search for snap. And we're going to change the shortcut Control Alt and S. So now we talked about the snapping. Now let's talk about the transform. Transform. A really like to use the machine tool features. So now let's go in here and add ons and just search for machine. Here's the machine tool that you can use. So now in here, we have tools, we have Pie Menus, and then we have key maps. So now let's just scroll down in here and activate the transform pi. Now that we have activated this one, Let's go to K-maps. And then in here in point many of these that you see that the transform menu has been set to this ugly shortcut that I do not like. So now let's click on this and hit Control Alt and Q. I like to use this shortcut for it. So now let's go hit Save. And now if I select this one and it Control Alt and q, the transformation menu comes up. So now this is good when you are going to move something along its own orientation or change the pivot or anything e.g. now, let's go select this one. And let's say that I'm going to move this one alongside this normals. You say that this one is facing right in this direction. So now I can hold Control Alt and Q and set this one to local, transform to local. Now you see that gizmo has been set to face the normals of this one. And now if I want, I can really introduce a new one independent of the world coordinates that we have. And it's very useful if you're going to use. So if I hit global, it brings it back to the global transformations that we had. Now for pivot point, if I said the pivot point to 3D cursor, no matter where the pivot is, you see the pivot is still in here, but the pivot of the movement has been set to the world origin. And if I select this one, I'm able to move like this and it's good e.g. duplicating and then rotating stuff. Using this way to create something like a circle. Okay, now let's go in here. Control Alt and Q. This bounding box center brings it back, creates an imaginary bounding box around the object, and brings it back to the central vein. If we go intermediate point, it's going to do something like that. If I bring this one in here, it's going to bring the pivot in the center of the objects. If we go in here bounding box center, it's gonna be the same thing. But individual origins, although the pivot is in here. But if I try to rotate them, you see each, each one of these gets rotated along its own pivot and not the global to it. So now let's go in here, set it to bounding box center. Now, if I rotate this, it's going to. Rotate them around this imaginary, imaginary pivot that it has created. So now, speaking of machine tools, Let's go and set some more features to use. And I'm going to go here, save pi. This shading pie. And a line as well is a useful cursor. And let's activate this one and this one as well. So now if we go in here, we need to assign the key maps for them. So now let's see what they do in this pie menus. Safe Pi has been set to control and S. Now if I go control and SCC there, we get this pie that is belonging to the machine tools which are good. Save the file, save new increment file to save a new one. Number one, by keeping the previous one and Save As if you're going to change the name completely. And then you can go import OBJ, FBX, export, these kinds of maneuvers. And now the next one is the shading Pi, which I'm going to set it to shift and a spacebar. Now in here, if I hit Shift Spacebar, the shading pi comes up, which is a useful one. For now, Let's bring the overlays on. Now if I select this and hit Shift Spacebar, I'm getting this menu which is very useful and quick to assign the smooth things, this one. So now let's set this one to smooth, and let's set it to 180 degrees. It makes it something like a chocolate. And previously, if we wanted to do something like this, we needed to select the object, go into Object Data Properties and enabled auto smooth and assign the degrees that we wanted. But now, it's very easy. We just hit Shift Spacebar. And let's go to smooth and then smooth it by 30 degrees to get something like this, which is a lot faster, then we can do a lot of more things with the shading Pi, e.g. to check to see if we have any back face problems are not based orientation. He said that all of them are blue and it means that it's good. The shading of the phases should look blue. The blue should be the side that the player or the viewer is going to see. The red should be inside. You see now the red is inside. And that is the problem of the back face culling. If I select this one, e.g. let's go select, let's create another cube. Now I'm going to select this. It's Shift and N recalculate the normals. Now you see all of the phases are alright, except for this one. Now if I go in here, bring this back. We're not seeing anything. But if we bring the back face culling, you see now there's a problem with the shading. And that is because this face has been inverted. And now if we go in n, because we have the back face calling me, rotate that. And now if I go in and try to rotate, you see now this is the phase that has been back faced. If we go in here, select this phase shift and n, recalculate it back. Now, although we have the back face calling, and it means that if I bring in a plane, try to rotated and bring it up, I'm only seeing the face and the side that the normals are getting calculated and the other side isn't getting calculated. If I go back, back, face culling, turn it off. I'm seeing double-sided, but this actually it doesn't matter because it's only preventing the back face calling to be shown. Okay. That one was another. Notice of. And now you see, although this one is bread, we are seeing geometry in here and that is because the back face calling is turned off. Then you might want to go and apply the cavity. Now let's go for curvature as well. To highlight the curvature files and curvature on the edges. I like to have the curvature on. It creates the illusion that this is a bit of hard surface thing. Now let's go back, try to remove this. And in here, it's shines really by activating the curvature and cavity. It looks a bit more high party, of course, this is only in Blender viewport. If you're going to export that, it's going to, it's not going to look like this. This is only for working inside the viewport of Blender. And the next one is the aligned Pi, which it has been set to Alton a. And it's better than one that the blender has. Now, let's go in here, select this one and you see that this one has been offset it. Let me take this one, take these two vertices, and hit Alt, and it brings the align menu. So now let's say that I'm going to align them to write, to create this. Or if I'm going to align them to left, it's going to align them to left. And that is viewed dependent, depending on the location that you're looking. It's different, e.g. now, let me go select these to align the bottom lines, the bottom. But if I go in here and try to align to bottom, nothing happens because it's aligning to the view. The next one is the cursor Pi. And the shortcut for that has been set to Shift and S. Now the pivot of this one, you see that it's on this orange point. And if I select this, you see the pivot is in here and we have the origin in here as well. If I hit Shift and S, there are some options that you need to do, e.g. if you're going to spawn some geometry exactly on this part, this is the world origin. Now it's in here. It says that world origin to select it. If you select it, It's going to bring the world origin on here. And if I go in here, shifting a to bring in a mesh, e.g. this quarter sphere. It's going to exactly as ponders, exactly on this pivot point. And now if I go in here, Control minus, it's going to do the calculation for me. Like so. Now let's say that we are going to change the pivot to something else, e.g. bring the pivot to the world origin. I select this. You see now the pivot is in here. Let's bring the pivot to origin, excuse me, the origin to origin. It brings the origin to the zeros, zeros, zero, which is the center of the world. And now let's bring a cube. I'm bringing the cube in here. I hit Shift and S to bring that. This dot is representing the pivot point. If I hit this one, it's going to bring the pivot point. Note that the pivot point is this orange.in the center of the cube, if I hit Shift and S and bring the pivot, the cursor, it's going to bring the pivot to this cursor. But if I go and try to select this vertice in here and achieved an S and bring the origin to vertex C. Now, the vertices is now the center of the world and the cursor is in here. And now, if I select this one, it Shift and S and bring this one to cursor. It's going to bring the cursor, the pivot point. Exactly that is one. Now if I go and try to rotate, It's going to rotate around this point that we have in here. That is very useful. And later on we'll use this one a lot in the process. And then transform Pi. We have talked about it and the collection Pi, I'm not using that much. So now let's go in here and try to bring some tools and try to use them. E.g. this smart smart edge, smart face. Let's activate them and go into K-maps. And then in here we have some functions to do. We have the merged list and merge center. But the one key has been occupied previously because if we hit one, we're going to vertex mode. Now you see it's doing this one because of the machine tools, but we need to deactivate it. If I had to, we should go to edge mode and if I hit three, we should go to face mode. But these have been occupied by the machine tools, which we are going to fixed now. So now let's deactivate merge paths because I'm going to use Alt and Alt and one for this one. Alton do for this one, alt and three for this one. So now if we go in here and try to take two vertices, if I hit Alt and one, it's going to emerge them to the last point. E.g. if I select this and this one, this becomes the active point. And if I hit Alt and one, it's going to merge it down to the active point. And there's another one which is merged to center, which is using the shift one. If I hit Shift than one, it's going to merge them in the center. It's going to find the center point in-between both of them, e.g. now, if I hit Shift and one, it's going to merge in the center, exactly in the center of these three. And if I take this and hit Shift and N, You see that it merged them in the center of this face. That is a good one to use as well. And he can go and try to spend a bit of time to see which of these do and incorporate into your workflow. And the next thing that I'm going to activate, these two ones, this is a quick Geometry cleanup. Let's go in here. This cleanup has been set to three, but three is the face selection. So I'm going to select this one and we have set this one to all three. Let's select this one and set it too old for. If we go in here, hit Alt and four. It's going to bring some menu to clean up the geometry, degenerate faces, double phases and these kinds of things and guns and every ugly thing that you have there. The next one that you're going to activate as the mirror. And it's very good for creating symmetry. So the shortcut is Shift Alt and x, of course, that is for mirroring along X and for Y and Z, the shortcut is different. So now let's take these, drag them out. Or let's take this one. Let's say that we're going to use the symmetry on this one on the mirror. So I hit Shift and Alt and x. It's going to bring the mirror to this side. Again Shift and Alt and x to create the mirror on x. And let's say that we're going to mirror on the why, though Shift and Alt and X to bring the mirror on the way to create a symmetry, as well as the mirrors have been created and here as well, which you can use. Okay? And this one is a great one that you can use a tool to have in your arsenal. And now let's say that we're going to mirror in Z. I hit Shift or Alt and x and assign the mirror to be in Z. Okay, it's done. And that is a really great tool to have in your arsenal. Now that I have this, Let's hit Shift and Alt and x. It brings up the mirror. And now let's go in negative y. But now we need to go in here and it's slip to get that effect that we want it from it. Okay. That's a bit tricky, but you're going to get used to it once you start to create real stuff with it. And the next one is a line. And this one is different to the align that we had in the edit mode. This is in the object mode. You see now the align in the edit mode works with vertices, edges, faces, and all of that. But a line in the object mode works with objects themselves, e.g. let's go in here and bring in a cube. Okay, it works with the pivots as well. So now I'm gonna take this one and this one for the last an active period object ahead. Also an a, it's going to align them to rotation location based on the pivot point, e.g. this is active. If I hit origin, it's going to bring them to origin. Active floor. And it has a lot of options, e.g. you can deactivate the location. It's, it's only going to align the rotation, or you can go allowing the location based on the pivot, the K. This one is a good one to use as well. The next one is for joining stuff together. And then these ones are going to make some of the blender functionality is a lot better. Let's deactivate these. Okay? I think it's better to deactivate the groups and apply, select and match cut are useful more. And then this thread is very good as well if you're going to create industrial than hard surface things. So this turned cylinder phrases into threads. So let's go see what that does. Okay, we're gonna go in here bringing a cylinder. Now we're gonna go in shade smooth. Of course, we need to apply 30 degrees to make that a hard surface h. Okay? Now we're gonna go in and select these edges. Okay, it needs to be a perfect ground. Now, right-click machine tools and add thread. Okay, Now you say it turned that to something that we see on bolts. It's perfect for adding these kinds of effects for free. And then let's go in here, bringing a cube and make it a bit bigger. And make it like so. And you'll remember that we had a mascot option that we added. This is the match cut. And it's going to cut this mesh onto this object. Now, I'm selecting this and selecting this one as the active object. Right-click on it here we have the mesh cut. You hit it and now you see nothing visible happened. But if you go in, you see now it has cut that match exactly on this one, which is perfect for adding cuts into the meshes using custom geometry. Using the knife tool. If you are going to use the knife tool, you can go into k and try to bring in a cut. If you're going to make it see-through, you're going to hit C and then click Enter. It's going to create something like this. But if you're going to use a mesh, use an external image to cut into the mesh. You are going to use the match cut. Okay, everybody. Now, it's enough for installing blender add-ons. In the next lesson, we will go and demo on the workflow that we're gonna be using in this tutorial. We're gonna do a simple demo as well as doing some introduction to ZBrush for this purpose. And we do a test page to see what goes on and to actually get an idea of how things are going to work. Okay, See you there. 5. Demo Of The Workflow: Okay, Now that we know how to Blender is going to work and we have installed some things and some add-ons to make the workflow a lot better. It's time to go and demo how we're gonna do things in here. Because I believe that having a bit of knowledge about this will help a lot in clarifying the way that we're gonna go for creating the prop. The workflow is very much based on Booleans and we're going to use the Bowl Tool add-on very much. And that is because it makes sure that wherever we have a complex shape, we will do that easily by Boolean. So this is the mood board that we have for the course. We're going to create a simple radio. This is the front side of it. And we're going to use a lot of techniques to create this. E.g. you see there are parts in here that are carved into the piece. We could use boolean to carve these without actually having to work with a lot of geometry. And there are parts that are just floating on the surface and create geometry for these. This is basically what we are going for. This is the main one. Of course, we might do some variations on the surface. This is the backside of the same thing. We're going to create a radio. This is the front side, then this is the backside opera radio. And then this one is the headphone that we're going to create. And to make it more complex, we decided that we might need some headphones in place because the headphone is composed of hard surface parts, e.g. in these ones, we might do some cloth simulation for this cushion parts as well as these and some modeling parts. E.g. these parts that are extruding outwards and these Boolean parts. Okay, This is the reference. And then to support the idea, we have some real-world references as well. We're going to talk about these later on, but for now, let's go and see what we're gonna do. Now on this one, you see that we have this part being carved into the surface. And this is the actual geometry. This has volume, this has an actual surface. And for this, we're going to keep the Boolean in place because you see it adds to the silhouette. But for something like this, this screw in here, we might remove the high poly and only use the baked data. So now on this one, I'm going to take this one as a reference and demo on what things are going to be. Now, I'm going to take this and go into edit mode. I'm selecting this and using the maximum interactive tool. The Quick origin that we assign, the shortcut Alt and S4. I'm going to select this one. I think Alton S. Now the pivot is in here. So now if I exit out and see the pivot is in here now. So now I hit Alt and G so that it brings the object right in the center of the world in absolute 000 and all of the vectors in here, in x, y, and z. Now I'm going to change the surface of it. E.g. I'm taking this edge and holding down Control and B to activate the bubble tube. Okay, Now we created some surveys variations in here. Now I'm going to do such an effect in here. We're going to create a half circle that continues in the surface outwards. Now, I'm going to use this tool in here. Of course we can go and use the regular blender measures, e.g. I. Can go bring in a cylinder. And again, based on the intro that we did, I'm hitting Shift Spacebar, make it a smooth, and make it based on 30 degrees. And I'm going to do the same thing for this one as well. Let's make it a smooth. And based on 30 degrees, it makes sure that the shading is going to look correct. Now, I'm going to carve this piece into this one. This is gonna be the Boolean piece and this is gonna be the actual piece. And we're going to demo how to Boolean pieces are going to work. Some Boolean pieces later on, we'll get removed and they could easily be baked on the surface to have that data. But some of them need the geometry to be in place. And particularly this one, because it adds to the surface, we need to make that stay in place. Now, I'm going to take this and go into edit mode, select this edge and this one. I'm going to hit J to join them together. And then this one, and let me see this one again. I'm going to hit J. Now we have a loop that goes around. So I'm going to hold down Alt and click in here to select the edge loop. And then again, I'm going to hit Control a and B to activate the Bevel tool to add a slight bevel. And the reason for that is that I'm going to go in the top view. And again, we're going to go for the bucks x-ray that we installed previously. So now I'm selecting this and I'm dragging this one outwards. Now you see we have some of this shape in place. We have a half circle. That goes around and we can go here peacefully and start to remove this if we wanted to. Now, I'm holding down Alt and clicking on this one while I'm in edge mode. And then right-click and N to create a face. And it's done. Now again, I'm hitting Alt and use the Quick origin to bring the pivot in the center. This is how I'm happy with in working with these objects. So now I'm going to carve this one just like this on the surface. But this one is so huge, we need to resize it. So again, I'm hitting S to re-scale that. And then again, I'm rotating this to get the way that I wanted. Okay, Now let's call this one in here because you see this is a relatively straight surface. And we need to carve that in, in here, okay, now I'm dragging that in here. Now, it looks like we need to rotate that in z by 180 degrees. And a lot of times you want to apply controlling a and apply the rotation and scale to make sure that the modifiers are going to work. Alright? Okay, now we need to flip this again. Now this time I'm going to rotate this in x so that we get something like this. Now, I'm going to use the bool tools to carve this one in the place. Now, let me bring this in here. I'm going to select this one. And boolean. Of course, this is the Boolean object and this is the piece that we're going to use the Boolean. And then I'm going to hit Control N minus two, curve that into place. Of course I'm not going to do that the very detailed in here because it actually doesn't make sense to put a lot of detail on this one. But this is something to consider. Now you see we have something that actually changes the silhouette. So whenever we are going to create a low poly file, we're going to keep this because if we are going to bake this one on the low poly, We're gonna get a lot of errors. But for something like this, which is really flat, we can get away with baking on the surface. Okay, now I have this and then this is the Boolean object. It's in real time. I can take it to wherever I want to do with it, change it, or go into edit mode, e.g. take this edge and do a bubble by hitting Control and be like so, or let me go further and take this one. And now hit Control a and B to go into bevel mode and do a bubble in here. Now, see, we get even more detail in here. So now we're taking a look at this, and that is very good. So now another thing that I use regularly is to do a flip bevel. And to do that, let me go in here, because this mesh doesn't actually represent a Boolean mesh that we have here. So now I'm gonna go into Edit settings. Again. I'm going to go for add-ons and just search for bool tool. And you're going to expand this drop-down. And in here it has an option display as wireframe. Now, if you hit this, whenever you do a Boolean, you're gonna get the real shape, not a box representation of that. If I go into the Edit mode, you said this is the real match, but it's showing us as a box and it's not so helpful. So for demoing, let me go in here. Again. I'm going to take this one and then Control and Shift to select this one as the object, then Control minus. Now you see we have an actual representation of the Mesh not getting a bounding box. This is better. This is a lot better. And let me go and try to Boolean that without that option enabled, if I turn this off, display as wireframe. And now I'm going to take this one, and this one has the Boolean and Control minus. You see now we get a bounding box which is actually not that useful. It's a very good option to have this one activated. It helps a lot. Okay, now let's go in here, wireframe. And then we can check the Boolean on and off. This is the one that we already removed, and then this is the one that we have in here. So now there's a good option in here, wireframe on an off, I have activated them and create a shortcut for them. This one wireframe on is going to be a four, just like so. And wireframe shaded is on F3. So if I select this one than he'd have three. You see, now we get the same thing. We get the actual mesh representation of the Boolean piece. Now we were talking about the flipped Boolean. So now I'm gonna go into edit mode and take this one that is extruding so far away from objects. And I'm closing this one to here. So now I'm going to flip the normals on this to do a flipped Boolean. Demo of flipped Boolean, I'm gonna go create, let me create a cube. I'm dragging that out again. Let me make this one the pivot exit out and bring this one in here. Now we're going to go to the back face color mode to see that you do not need to go. This is only for representation. You see now the normals are all correct. And if I go and select this one and try to hit Control a and B. You see now it goes just like expected. We are shampooing and bubbling this one. But if I go in here and try to flip the normals, that let me just hit Shift and N to bring the normal calculation menu and it inside. Okay, now this is going inside. And if I hit Control B, it's going to do a reverse bubble. Okay? It's gonna be something like this. It's exactly the opposite of this one. This is reducing from the surface, but this is actually adding to the surface. If I try to bring this one in here and try to carve that n, let me select this one first and select the object and hit Control and Minus to bring that here. And let's take this one. And if I bring this one n, you see now on the places where we have this reverse boolean, it's going to curve actually into the surface, creating a beautiful effect. You see now, this is the effect and now I'm going to create that in here. Again. Let me go in here. Take this, I'm going to take these shifts and n to calculate the, recalculate the normals. And then I'm going to bevel this edge. Okay? Let me take this, this one, this one, and then this edge loop. I do not want this one to be beveled. And now let's do a bubble and you see this is getting calculated. Of course, it's knowing a bit. So let's take this one and remove it. This way, we're going to have a better bubble. Okay, now, I'm gonna do a bubble. And you see that every time I tried to do this, we're getting carved into the surface. A very beautiful high poly effect that we have here. And this is about flipped pebbles are used that a lot. So let's go and try to take this one, or I'm going to remove this. Okay, now, this is about this one. And now let's create something like this. There are a lot of times we're, we're creating bolts and screws on the surface, but they can be baked on the normal map to save a lot of space. And to create this one, I'm going to create it on this surface. Let's exit out of that for back face call mode. And then I'm going to use this menu. Instead of using Shift a menu, I'm going to go and use this one and bring a cylinder because I want to cut the cylinder onto the surface. You see now the good thing about this one is that it respects the normal of the surface. And you see if I click on here and hold down Shift, it's going to proportionately create a cylinder for me, okay, Now it's in here controlling the size. And then if you control, it's going to snap. But the snapping feature is turned off. And using Alt as well, you're going to go so wild on that. Okay, Now I'm gonna hold down Shift to make it proportionally, right? And then drag out to create a cylinder. And then we have the same options in here. I'm not actually carrying about the polygon size or anything. We only need to care about the geometry itself. Now, I'm taking this. Now you see that is actually perpendicular to the normal of the surface. And that is very good for cutting the pieces in here. Now, I'm going to curve this one into the surveys, so I need to drag that. But if I try to use this option, it's not gonna be so accurate because the rotation value is changed. And we need to go in here in the global mode and change it to local. Now you see the pivot respects the direction of this one. And now if I bring that back, it's going to be perfectly on the angle that we want. Or the shortcut that we created on the intro section is going to be Alt, Control and q. And then we get this menu. And then you can easily select global, local, or using this drop-down, select local. And you're good to go. Now I'm going to select this one and then shift select the object that we're going to do the Boolean on, so that it becomes the active. And active is going to have a light orange shading in here. Okay, now I'm hitting Control and minus. Now it cuts into the surface. It's perfect. Now, let's go to a Boolean as well. Excuse me, do a bubble. Now, I'm going to take this and hit Control a and B. And I might use the mouse wheel to add some more vertices in here. So now if I go select this one in here, you see that we have a facet that edge in here, which we actually do not want. That is because we have this object facet that in the first place. So to solve the shading issue in here, we need to select this one. Either we go in here, go to Normals, and activate auto smooths to solve that, and then right-click on that to shade smooth. Okay, now you see the shading problem is gone or the simpler way is to. The object shift and a spacebar based on the shortcuts that we created, then make it a smooth and then based on 30 degrees. Okay, now just make sure that you do not apply the Booleans because later on we're going to come back and see what booleans we're going to keep and what Booleans we do not want to keep. Later on in the high poly, low poly section, we will come back into this and try to change the Booleans to see which one of them actually contributes to the surface, to the silhouette TC. Now, this one actually carves into the silhouette. This one couldn't be baked on the normal map. But for something like this, we could easily get away with it by baking that into a normal map. Okay, Now, this is the base mesh. Let me go in here, take the light and those ones. The first thing that we create is this base mesh. And then we will unwrap this, a very basic unwrap to separate the islands. So that in ZBrush we can make this smoothing based on those islands. And the reason that we're going to use ZBrush is because we're using the Boolean and Boolean creates a messy topology. And in order to get a perfect shading, we need to have quantified mesh. So this way, it will help us to get a perfect quad mash in ZBrush and do that smoothing there. The mesh has some stages that we go step-by-step. Learn how we're going to create things. Now we have this and in order to make that more looking like the surface, we're going to create an, a screw in here. So again, to create that, I'm going to go to Edit and Preferences. And in here there should be around that is called bolt factory. You activate this and it's gonna be available in the ad and mesh. To bring that, we're gonna go to Mesh, shift and a to go to Mesh. And then we'll get this one bolt. Okay, Now this is it. We have a lot of options. Let me go in here and see which one we're going to use. This one is very much similar to the one that we had, but the size is actually gi, gigantic. So I'm going to take this one and align it to the surface. What option better than snapping mode. So I'm gonna go activate the snap. But the snapping is going to be based on increments. I'm going to make the snap based on the surface normals. We have a lot of options, e.g. we can go in here. Of course, a snapping could be activated using Shift and Tab. This is the shortcut that we created for a snapping. And then Control Alt and S is going to be the snappy. Okay, now I'm going to go into vertex mode to a demo how that is going to be. And this one is going to take the active point and connected to one of these vertices. So now I'm going to take this one and you see everywhere that I bring it, it's gonna be a snap to the surface. But in order to make that better, I'm going to hit Control Alt and S. And in a snap with closest, we're going to make it active. So now if I take this one and bring it here, it's going to snap perfectly to the side in here. Okay? Now I'm gonna make it a snap two phase, not as vertex. So I'm gonna go in here and make it face. Now, if I rotate that, it's going to be based on surveys. You see, it's just taking the surfaces in the calculations. But I want the rotation to change as well because this one has a rotation to it. So now again, I'm hitting Alt and S, Control Alt and S and make the effect to go for rotate as well. So now I'll take this and go in here. Now this is going to respect the faces and know them. But in order to make the rotation work, we need to go in here. Again, it Control Alt and S. And we could use some of these options, e.g. let's set it to active. Now in here, we need to align rotation to target, okay? Now if I take this and rotate, it respects the normal of the surface perfectly. Okay, now again, I'm hitting Shift and Tab to deactivate the snapping mode. Bring that right into the place and try to re-scale it until we get the job done. Okay, now I'm re-scaling again and trying to carve this one into the place. Okay, now let's take it and bring it right about here. Something like this. Now let's go back and now we have this one. But we need to bring that in place because you see like this one, it's adding to the silhouette. I do not want that. So let's call that in soda. It's somehow. In the surface not adding something to the silhouette. Now this is the base mesh. And by base mesh I mean the mesh that we can do edits on. Okay, now I'm going to take this one Shift D because we need it. Now, let's hit em and create a collection. And I'm going to call this base mesh. Okay, now, let's turn this off. Now we're going to create the mesh to be the high poly for ZBrush. So on this base mesh, let me go in here to the renamed using F2 and set it to be 01 base mesh to be alphabetically on top of everything. So in order to bring that on top, we need to go take this one because now it's the children of this collection. If I go in here and bring that to Scene Collection. Now, this one is in here. This collection might be on top everywhere. So now we have these and then we have this space mesh in here. I'm keeping this one so that every time we needed to change something, we can do that. Okay, now, I'm going to take this one, take all of these, and then create a folder. And let's call it zero to ZBrush preparation. Because we're going to export this one to ZBrush, we need to apply all of the modifiers because we need to unwrap this. In order to do the unwrapped, we need to apply the Booleans because the Booleans are real-time in here and not the part of the object is if I go into edit mode, you see now the objects are not applied. So we need to apply the Booleans. Soda, we prep the high Polyvore ZBrush, and then we have this base mesh as well. So that later on we could come back and create a low poly from this because it has the Boolean parts. We can select which Boolean we want to activate and so on. Okay, Now I'm taking this and bringing the ZBrush corrupt files. Let's go in here, select the object, and then I'm going to see what booleans we're using in here, control and a to apply that Boolean modifier. Then let's take this one. This is this one controlling a, again to apply the Boolean. Now we have this cutter piece as well that we can go and remove k. Now, this is not real-time. Everything has been applied in here and we're no longer able to, in real-time, changed the Boolean pieces to change the design. Now we've got these two pieces. We need to do a very basic UV unwrap. This. And the UV unwrap is gonna be based on sharp edges, e.g. we go and select this one. And then this one is gonna be the UV seam. This one, he is going to be the UVC. Basically everywhere that we have a sharp edge, we're going to cut and make a UVA island. So that later on in ZBrush, we tell that e.g. if this one is a separate UV island, it's going to take these edges, take the islands of edges of the island and make them as smooth. And SUV might or might not survive to the low party file. Because e.g. this one, this n here, we're going to unwrap it. But in the final low poly file, we're going to delete this. So some of the unwraps are going to make it to the party and low poly and some of them not e.g. this one, because this is adding to the silhouette, we're going to keep the UV. Or For this one, we might remove that later on. Now I'm dragging a window out. And then in here I'm gonna go to UV editor, select this one, and go in here. Now we need to unwrap it. So if I hit a to select everything, you said this is the unwrap. Basically for every major change that we have on the surface, we're going to create an island. And I feel like we can go and create a demo of the UV on ZBrush. Let me go in here, create a cube. Because I believe that doing a simple demo is a lot better than talking on 1 h on the thing. So now you see this one has the UVs in place. I'm going to hit Tab to go into edit mode. And then in face mode, let me select this one. And this one, Let's see, I'm going to hit separate. So let's go into this UV mode. Or instead of that, let's use by sharp edges. So we can go here and select sharp edges in here, because I use that a lot. I'm going to right-click and add it to quick favorites menu so that every time I hit Q, I'm saying this select sharp edges. So now, because everything in here is a sharp edge, it's selecting everything. So now I'm going in here, select this edge and hit a bubble. And I'm adding a lot of surfaces. Now, if I go again and hit Control and hit Q, select sharp edges, you see now this one isn't selected. So now every one of these sharp edges that we have selected, we are going to convert that into a siem. So now I'm going to right-click and Mark scene. And because we're using this mark seem a lot as well, I'm going to right-click and add it to quick favorites menu. So now I hit Q. We have Mark Simon here. Okay, now everywhere we have these red lines in here, it's going to do the smoothing in ZBrush. So now I'm going to select everything. Right-click. And here you see. As separated them based on the sharpness that we have defined for this. Okay, now I'm going to say, let me select this one. This is a separate island. This one is a separate island. It has 90 degree sharp angle. And this one as well as the 90 degree and this one. And this one based on the 90-degree sharp angles we have separated the Smoothing Groups. So now I'm going to export this one as an FBX to ZBrush. So in order to export that, we're gonna go to File and Export an FBX. And again, because I use this one a lot, I have that on the quick favorites menu. So now let's export as FBX. And then in here, the only thing that I'm going to activate is the limit to select that object. And because the topology on this one is alright, I'm not going to triangulate this because a lot of times when we activate the Boolean, it's kind of really horrible things to the geometry. We need to triangulate that soda ZBrush doesn't give us any errors. Okay, now I'm going to select this and export. It exported. And this is the interface of ZBrush. Of course, do not worry if yours is different than mine, we will learn how to customize that using this one so that we get most of the useful buttons in the place in here. Okay, now we need to import a file in here. So we go to Import and then go to the mesh that we have there and hit Open. Now because everything has been triangulated, it's going to import that perfectly. Now. Let me drag that in. And then in order to go into edit mode, I'm hitting T so that we could go and edit that. So now you said because it hasn't been triangulated, we get this one. This very bad problem in here. Let's go back to Blender. And that is because we have this very, very nasty and going in here and ZBrush hates and guns. To solve the problem, we could easily go in here and do a triangulation. It's going to triangulate it. And then we could easily turn this one off to go back to the default stage. It's very procedural and real-time. So now again, let's go and export this demo. Export again. And we're back in ZBrush to an import, import that again and hit Okay. And now you see we no longer get that error. And everything is perfect in here. In order to get the shading wireframe, we could hit Shift and F. Now you see the shading, excuse me, the wireframe is in here and you see everything in here is purple. And it means that it's all one group, but we need to separate that based on the UVs. There's an option in here which is called Auto Groups with UVs. If I hit it, is based on the UVs that we created in Blender. It's going to create different groups for us. Okay? Do not worry for now. In the next lesson, we will go deeply or relatively deeper in ZBrush and how to customize the viewport to get this buttons in here in place. But for now, it's good to note that we have these in place. Now, there's a great feature in ZBrush, which is called the DynaMesh. And it's going to quadruple the mesh. You see now in here, we have a very bad polygon distribution. And if you try to sculpt, you see we get very, very bad, ugly results. And it's nothing like the professional sculpt that you see done in ZBrush. And you see the faceted edges in here as well. Because we have a low amount of polygons, we have 58 polygons in here, which is so low for a good sculpt. So now for DynaMesh, we could go apply the resolution e.g. make it to K and then hit DynaMesh. But it's important to note that you need to hit auto groups with UVs before doing the DynaMesh. Because the DynaMesh is going to reach apologize the mesh and clear every UV data that you have there. So you need to first order groups with UV and then do the DynaMesh. So based on the complexity of your mesh and the amount of resolution that you said, it's going to take some seconds or minutes to calculate the DynaMesh, but the result is gonna be worth it, I promise. Okay, now the meshes DynaMesh and we see no change in here. But if you hit Shift and F, You see now we get a perfect quad mesh in here that is ready to be sculpted. And if we go in here, and now you see, we get a very smooth transition here. So now the thing that we're going to use, you see we have different colors in here. Now if we hit Shift and F, We go in here and you see the poly groups are in place. And we're going to use a masking feature to select the area in-between these the areas that we're going to make a smooth, you see now this is so sharp and faceted that doesn't look high poly had odd because although it has eight millions of polygons, it's not looking high poly at all. But we're going to fix that because we have that based on the UVs. We could go in here. Mask by feature and only select the poly groups. Okay, Now hit that. In the first glance. It might look like that nothing has happened, but it has created a mask for us than then again, we could go try to grow mask couple of times. And now you see the mask is in place in here. So let's go and try to grow that. Sometimes it's good to blur the mask a bit because if you do not learn it, it's going to be so sharp and very ugly. Okay, now that we have this one, we have a mask in place. We could go Control and click in here. Now you see the edges have been selected based on the UV that we created in Blender. Everywhere that we have a same, everywhere that we have one of those seams, it's going to place a poly group so that we could use. Okay, Now there's the Polish feature. And it has couple of Polish features. It has the normal polish and it has a stronger polish as well. So now you're going to use a Polish. It's going to take a bit of time to calculate. Then let's polish some more. And we could go even to a bit of more aggressive polishing. And now you see the edges are very, very smooth and looking very high poly. Now again, I'm going to hit Control and go back. But we have the faceted edges in here, which will need to cover as well. And it's gonna be using the polish as well. Let me go use the Polish feature on a high percentage. Okay, now you see it's getting really, really smooth because it's doing the polish on the surface and not on the edges because we have mask them. So now in order to clear the mask, we could hold down control and drag the mask to control, to remove the mask. Now you see we get a very, very high poly mesh that now we could export blender and bake wherever we want to bake these details on the low poly mesh that we have. Okay, now you see how smooth these edges are compared to the ones that we have in Blender. Later on, we will come back and do the bake in future lessons. But it's good to note that this is the workflow that we're gonna go and the UV creation, the basic UV creation is just like there. For that reason, we created the UVs so that we could make these edges sharp or a small space underneath. And then even we can go in here and try to sculpt and do some more damaged, or do some edge passes, or do whatever we want to do with these edges. Now, this is about the workflow that we're gonna do in the next one. Let me take this one and remove it and bring the file that we had in the next one who will go and create a UV for this one? Because this is much more complicated than the previous example. And we see how to create UVs for this. And then we will unwrap it, exported to ZBrush, make it a high poly, and then bring that back in Blender and then bake it inside substance and do a simple text string on that. Okay. See you there. 6. Intro To Zbrush: Okay, This is where we left off in previous lesson. Now we need to create a very, very primary UV for this one, we do not need to actually make the UV so sophisticated because we only need to select a sharp edges and separate them from each other so that we could separate them in ZBrush. And later on, when we create the unwrap or the low poly file, the actual low poly file that is going to go into the engine. We will create a very sophisticated UV and we will put enough time on the unwrap of that one. But because this one is not going to make it to the production, it's only going to be for the high poly purpose. We need to create a very, very raw and nasty default UV. Okay, now let's go in here. We could go in here, make it very quick, unwrap, or we could go into the object data properties on this UV map, remove it, and bring the UV so that he could get this ugly UV that actually doesn't do anything. So now they could go and try to select by sharp edges. So hit Q and select by sharp edges. Or the better way is to hit, to go to Edge mode. Right-click, select sharp edges. And then in here, we need to assign the degree to see which one is better. So let's go in here and the sharp edges are selected perfectly. Let me go and select this one. Again. You could go right-click and mark seam on this one. Or we have added that to the Q menu. Hit Q and Mark seem, okay, this is it. Let's go in here, select them all. And now it's better go to the face mode. And in their right-click and unwrap. It has done a very row on rap, and this is actually not going to make it into production. So now let's go back and we need to unwrap this one as well, because we need to make the high poly file from this one as well. So now let's go in. And now I'm gonna go to Edge mode by hitting too Q and select sharp edges. And let's see if that is doing a good job. It's good in here. And it's good in all of the places. It's doing a good job. So we need to convert these two seems. Now going to polygon mode. Hit a to select everything. Right-click or we need to create a UV for that first. So you can go to Object Data Properties and uv maps, this plus icon so that it creates the UV channel and then hit unwrap. A very basic unwrap. Something like this isn't going to be useful at all because it's going to take a lot of space and that is very an optimal. But since this is not going to make it to the engine or whatever file that you're going to create. We're going to keep this. Now. Let's select them all. And you need to make sure that the name of the UVs are the same. So this is UV map. And this is UV map. Again, let's select them all. And everything is alright. So now we need to select these and we need to export them to ZBrush. But since ZBrush loves to work with quotes or triangles, we can go in here on the modifier and try to triangulate this. Very, very simple. Let's take this one as well. Triangulate and gone. Now I'm gonna go select this one and then export this one as an FBX. So let's name it, demo one, export. I'm going to bring that back in ZBrush. So we go to Import and go to the file that we created and hit Open. Now, drag it in here. Let's go hit T to go into edit mode. And then you see the files have been important perfectly. Okay, this is good and everything is in place. And if we go into sub tool, we get two files. One is the bolt and one is this object that we have. Okay, now you need to hit or groups with UVs. But now, first before doing anything, let's talk about how to customize the UI of ZBrush to be something like this. And these are the most useful buttons that I use on a regular basis. And instead of going in here, going into menus and finding them, I really find it more useful to have the buttons there so that we could use them. So in order to activate the customization, we could go to this preference and config. Enable customization, okay, Now, everybody that you need to drag into the viewport, you could hold down Control and Alt and drag the button and place it wherever you want. E.g. this divide button, I use it a lot. I bring it here. And of course the shortcut for that is Control and D. If I have control and D or if I hit divide is going to give me the same result. Of course this is nasty and we do not want to use it unless in this situation. But it's how you drag the things into the viewport. And in order to remove them, you could hold down Control and Alt and then take it and drag it on the viewport, on the main 3D view port to remove it. Now, let's talk about the buttons that we have in the viewport. The first 1.1 of the most important ones is the DynaMesh. So we have this DynaMesh in here you see project poly groups blur, polish and resolution. I have dragged them and brought them into viewport. Dynamesh is going to turn the mesh into a perfect quad mode to get the best smoothing out of it. So now you see this is triangulated. If I DynaMesh, you see now it converts everything into quotes and it's going to be perfect for sculpting. You see the auto groups with UVs has been gone because this is going to alter the geometry and it's going to remove the UVs as well. So for this workflow, you need to make sure that you hit Auto Groups with the UVs before doing the DynaMesh. Okay? Just like so. Now, this is about DynaMesh. And then the next one that I added is this divide button plus this smooth. You say if I hit this divide, It's just like adding a subdivision surface. And if you have the smooth turned on, it's going to make the mesh smoothly. But if you deactivate the smooth and try to divide, it's not going to cause any smoothing. It's only adding to the geometry, but it's gonna be nasty if you have bad topology like this. You see, this is what happens on that. The divide button is mainly useful after doing the DynaMesh so that we get the perfect codified mesh and then doing the divide to get extra resolution. Okay, Now the next one is that we have our delete, duplicate, merge down, Merge Visible append, and a split two parts. And these are available in this sub tool menu. You see now the delete is in here. It's going to delete the sub tool. If I hit OK, it's going to delete that and we're left with this only bolt, the k. Now, let me delete this one as well. Okay, I'm going to bring the file again. So let's go to demo and bring that. This is about the delete. And then we have the duplicate as well, duplicate the shortcut for that is Control Shift and D, it's going to duplicate the sub tool, e.g. if I hit Duplicate, we get two of these objects in here. If you want to do any changes to them, it's available there. So let me hit Delete and then we have merged and split. So if I take this one and it merged down, it's going to convert all of these into the same sub tool and I can turn them on and off. Now we have only one sub tool. It's not going to do that. But now this is only part of the same object. And now if I go, if we're going to separate them from each other, the option is in here, the split. So the ones that we use regularly are split two parts, split based on poly groups. So if I hit a split two parts, you see I've dragged that here and hit Okay. Now, these are two sub tools that we have here. And then one that you might use on some situations are split based on poly groups. This is the feature that sometimes you might want to use. But in order to do that, let me bring that back. Let me delete the mesh because the UVs have been removed. And bring that again. We get this. And now let's hit our groups with UVs. Now we get different poly groups based on different UVs. And then again, this group based on split based on poly groups. If I hit it and hit Okay, you see now based on each polyp group, I get the same mesh. Just hit Shift and click on this. You see every mesh that we have here or every group has been converted to a different mesh. This is something that you might use on some situations. Okay, now let me delete them again and we bring that back just by going into import and taking that. And then we have it crashed that I had to restart it. It happens sometimes. So now we have the merge down and merge visible, which is again available in the sub tool and in the measurement you. So we have merged down. It's going to merge the sub tool that you have, all of the sub tools that are appearing after that in the sub tool menu. Then this merge visible as well, it's going to create a new sub tool based on that for us. Now, I take this, we have only one sub tool with all of the sub tools merged n. Okay? Now we go back in here and let me see what we have. And then we have this masking features which are very important to the workflow. So now let's go in here. And then we have this masking. And then we have masked by feature borders, poly groups and creases. And I have brought all of them in the viewport. And to bring them is very easy. You could go in here just to config and enable customization. And just take the buttons that you want and drag them into the viewport or remove them if you want. This is the reason that I'm not actually dragging every week button in here in the viewport to demo this. In order to save the file, you can go disabled the customization and hit us Store config. And this is going to make sure that every time you open ZBrush, you're going to face this viewport, then you have all of these options available to you. If you want to save that to an external file, e.g. to keep it as an external file, to load it. If your ZBrush gets removed or for whatever reason, it could go save the UI to an external file. It's going to save it to a config file that you can later on loading. If you have a ZBrush, uninstalled, reinstalled again, or you lose your ZBrush and want to do this one for future versions of the ZBrush. Now again, we have the mask, shrink mask, sharpened mask, and Blur mask dragged in here so that we can control the sharpness or blurriness of the mask that we create. Okay, Now the next one is the poly groups. And one of the most important options or groups with UVs. Let's go to poly groups. And in here we have auto groups with UVs drag in here. And then we have binormal and visibles. I do not use this that much, but they are useful buttons that you can drag in here if you want to use them. The other groups with UVs is the most important ones in this menu that we use. If I hit this based on each UV island, it's going to create a poly group for us. Perfect. Then we have these Polish features that are available and this Deformation tab. Now we have Polish, Polish by features published by Polish groups and Polish by crisp edges. And the most important ones that are used as this one, this Polish feature, the default one, and the most aggressive one that we have. These are the most useful buttons that we do. And then we have some brushes in here that you can drag in the viewport as well. E.g. this trim smooth border, I use a lot. I drag it into the viewport so that not every time I need to go in the light box, go into brush mode and selecting these folders and take my brush and bring it back. So in order to have it, I simply drag them into viewport. Let's start to use them. If you hit B, these are the brushes that are loaded by default in ZBrush. And you can simply e.g. this flatten brush. You can take it and drag it in here. Let me go. And to enable customization, you can take it and bring it here so that every time you need this flattened brush, you go and select it. And boom, you have the flatten brush. Now we have clay brush. If I go in here, now we have Latin brush. We do not need to hit B and go find it in here. These are the default brushes, but some brushes are available. And this light box, e.g. e.g. one of them is the term smooth border or every brush that you take externally from other people. So this one is in here and then this trim smooth border. And this is not a default ZBrush, brush in the brush pallet. So in order to use that in the default ZBrush palette, you need to do a couple of things. One of them is taking this one from the Explorer and copy that into the ZBrush, a starter file so that every time you load ZBrush, it's going to be available in here. So to do that, you need to go into your ZBrush directory folder. And then this ZBrush brushes, the brush that we were talking about is in the trim folder and there's this trim smooth border. If you want this one to load every time that you open up ZBrush. And this is not a default brush. You can Control C and then go into the startup and then brush presets and paste that in here. And then it's going to show up in the beam menu that you hit. Then you can create a shortcut for it, drag it into viewport so that every time you load ZBrush, they're gonna be available in here. But if the brush is available in this menu by default, you can simply select it. Let's go in here and e.g. select this stucco brush and then take it and drag it in here. But if it's in lightbox. In here, if that is an external brush that you get from other people, you're going to add them to light box first. Or you can go directly paste the brush file that you have into this folder so that it loads up by default in here. Now, let's demo on how we're going to do things in here. The first thing is hitting auto groups with UVs. And let's go through the same thing for this one as well, or groups with UVs. And then we need to go to DynaMesh now in order to be more optimized, instead of going for two k, I'm going to one K, one-to-one, 1024, excuse me. And then he DynaMesh. Now we get perfect geometry in here. Let's go do the same thing on this one as well. Or groups with UVs. And then on a resolution of 1024, let's do DynaMesh. And the amount of resolution that it adds highly depends on the complexity of the mesh and how small and big the object is. E.g. on the resolution of 1024, this one is getting 100, less than 100,000 polygons, but this one is getting five millions of polygons on the same resolution because the object is bigger and it gets more polygons to calculate. And then in here we can go e.g. on this one. If you're not happy with the amount of polygons that you have, we can go drag the slider up, e.g. used to k, or use the divide button to get more polygons without disturbing the shape of the object. But I say that using DynaMesh is a lot better. Okay, Now, let's take this one. Now. We need to go and start to select the edges. Because you see we have this faceted edges that are very ugly. So we need to deactivate border and only activate poly groups. Hit Mask by feature. And then you see it creates a very sharp line in here. Now we need to go and grow mask. Because in here we have some lines that are so close to each other. We do not need to go that for. Now. Let's Blur mask a bit. Then. What we need to do is control. Click in here and use the Polish feature. Now, let's use Polish by high percentage that we get a lot of smoothness on the edges. It's perfect. Now let's go back control and click in here to invert the mask. And then let's go polish on the same degree that we have. I believe it was 48. Okay, now you see a lot of those faceted edges are gone and we get a perfect smooth mesh in here. Now, if you have further adjustments, you can go and try to do that. Now, let's go for this one as well. I do not want to polish this one a lot because this is a bolt and a bolt is not going to be so smooth, it's mainly going to be a sharp object. Okay, Now, let's do DynaMesh onto k. And in order to reactivate the DynaMesh, you can control drag on the viewport. Now we get 300,000 polygons, which is okay. And in order to separate that, they can go into sub tool, hold down, shift, and click on this to only be able to see this one. Okay, Now again, I'm gonna go mask by feature and poly groups and then grow mask obeyed and then blur the mask. Now again, control, click on the viewport to invert the mask. Use the Polish, not so much. Then invert the mask again and use polish again. Now you see we get a perfect polished mesh. Now let's hit Shift and click in here again. Now this is the high poly done. Of course we can go and try to add as much detail as we want, but this is enough. But in order to see how far we can go, Let's go in here. Hit B and D, excuse me, hit P and then D. And this is the dam standard brush that I have dragged in here. Let's make it a bit smaller and try to do some damage in here, e.g. some custom damage like this one. Now this has been a scar, a sculpted on the surface. This is the high poly and down. Now we need to go and export this in Blender. Of course we could go and export this, but this is a lot on optimized. Of course, this is a high poly and it doesn't matter actually if you export a 5 million polygons into Blender, but optimizing that will cause Blender to run a lot smoother. So we need to go and optimize this mesh. And in order to optimize that, we need to go into Z plugins. And the Z plugin is available in here if you want it, it can go just drag it on here and start to use it. There's an option called the decimation master. It's going to decimate the mesh and optimize it a lot without actually losing any of the quality. So now let's go zoom in. I'm going to hit pre-process. It's going to take a bit of time. Depending on the complexity of the mesh. Now it took 3 min and 12 s to preprocess this because that is a dense mesh. It has five millions of polygons, which is a lot. Okay, now we need to specify a percentage of how much we're going to sacrifice the polygons. 20% is perfect. Now, let, let say decimate current. And now you see we went from five millions of polygons all the way to only one median polygon without actually losing any quality. See on the areas that we have detail, it's going to preserve that. And on areas that we have a flat surface, it's going to keep it. Okay? Now this is another trick to optimize the high poly mesh. It's gonna be better for Blender and it's going to be for the better for the disc as well, because it's going to require a lot more resources and space if you have more polygons. Now, let's see preprocessed again on this bolt mesh. Because this one is simpler. It only taught me a couple of seconds, maybe 5 s to complete. Now let's decimate again. You see, we didn't lose any quality. But if you go in here, you see on the areas where we have deformed mesh the most, it's going to preserve the polygon count and an areas which we are not doing anything. It's going to remove everything. It's very, very intelligent and it's doing a good job. Okay, now, this is the high poly, we went from five millions of polygons to 1 million. And we're ready to export this to Blender to do the prebaked process so that we could export it to Substance Painter for baking and texturing. Okay, we're gonna, we're gonna go in here to export formats. We're going to use FBX. Now, let's write demo, high poly and hit Save. There are some options that you need to enable. First one is which of the sub tools you're going to export. The first one is selected, which is this bolt. It's only going to export this boat. The next one is visible. All of them that have this icon and you're going to see them in the viewport are gonna be exported. And the next one is odd because we're going to export them all. We're going to use all. The next one is setting that to binary, triangulated and a smooth normals. You're going to make sure that these are turned on and hit, Okay? Okay, now, welcome to the third stage of that, which is bringing the high poly in here. Let me go on to File Import, and then we're going to import FBX. But again, I have added that to the quick favorites menu. And this is the file that we exported. Very important. Important, perfect. So you see all of the details that we had there are present in here. Let's go back. And now this is the high poly. Let me select them and I'm going to create a collection. Let's call it 03 HP, representing the high poly. Okay, Now it's about the low poly creation. And the low poly is gonna be derived from this base mesh that we created because it has the Booleans in place. Now we could go and try to select which one of them that we want to use and which one of them we're going to remove basically. So now let me take this Shift D and then right-click to paste them right in place. And then I'm going to create a new collection. Let's call it zero for LP representing the lower body. So now let's turn off the base mesh. And in here we have the object. We need to decide which one of them is gonna be removed and which one of them is going to stay on the object. So now let's select this one. And this Boolean, you see this one is so crucial to the image. We want to keep this because this is altering the silhouette. It has huge impact on this one. We want that to stay in place. Using this drop-down, apply or go on the modifier that is holding the boolean control and aid to apply that. And now this one, let's see about it. You see, this one is only something that is being carved into the surface. And we can easily get away with baking the normal map on that. So now I'm going to remove that, to remove it. Now, let's remove this one and this one as well. And as bold as well, because we need to make that parts of the normal map as well. I'm deleting that. Okay, Now this is the low poly and you see very easily created that from the base mesh that we had. Now let's go in. We need to unwrap this now again, I'm gonna go to Edge mode by hitting E and then select sharp edges. Let's see about this one. It's doing a perfect job. Mark scheme and then going to polygon mode, select them, all. Right-click and unwrap. Of course now this is again a primary unwrap. It needs further detailing, but it's okay and we could use this. So now this is going to be the low poly, and this is going to be the high poly. So now I'm making all of them up here and select them all. We need to give them all the same material because substance nodes, the objects, are the same if you give them the same material. Now, using the material utilities, using Shift Q, I'm assigning the material and let's call this one demo. Okay, now every object that are used in here, Let's go in here. You see it has the demo material, this one as well as the demo and this one as well as the demo. So now let's turn off the high poly and then I'm only selecting the locally. And I'm going to export this one as an FBX Export and call it demo underlying low poly. Then the next one, I'm selecting the high poly files. Let me select them both. And then I need to export this one as the high poly. And it looks like we didn't export the low poly. I don't know why. Let's call this one demo HP Export. And make sure that you have the selected objects so that it only is exports, these two. Okay, now, let's go back for this one. I'm going to export this as an FBX. Let's call it demo LP export. And we should be good to go. We have these files. The next step is to open up Substance Painter and try to bake and see what the result is gonna be. Now we are in painter and we need to import the files. And the first one is going to be the loop body. We go to file and hit New. Okay, then we need to select. And then we go to the folder that we had the folders in. This is the demo LP. That's it, open. And we're good to go. If you're going to use that for in Unreal Engine, you want to check this on the document resolution and the normal map format is okay. We could change them later on. This is it. And we have the demo material as well. We could hit F1. Now you see the 3D view port and the 2D view port, which is the texture. And then we could hit F2 to have the 3D view port. Only. Then we can hit F3 to only see the UVs. Now we're going to take the details to see what is going on. So in order to bake details, we could go in here to texture such settings. And you want to scroll down until you see this mesh maps. We're going to go bake mesh maps. And in here, we're going to select this one and select the hyperlink. This is gonna be the high poly. And these are the different mesh maps that we need to bake. Okay? Now, in order to test it, we're only going to take the normal map because it's gonna be a lot faster. The normal map bakes, well, we're gonna bake all of them after that. So now let's take selected textures. It's going to take some time depending on the complexity of the mesh. Now, you see we have some baking going on in here, but it's not so high-quality because first things first, the output size is 512, which is not so high-quality. But there's something going on in here. If I turn this one off, this is the Mesh Control Z. This is the mesh with baked Normals. It tells us that it's good. But in here as well, he see we're getting something based on that high-quality file. Although we didn't have that under low polypyrrole, it's on high polypoid that is gonna be baked on the lower body. So now in here, let's go and increase the size to four K and hit bake again. Now you see we get a better bake mesh mapped. The quality is a lot better. Everything is much more refined. Of course, we have a low polyploid, but it's giving us the look of a high value. So now, in order to see that, to see what is going on, we can hit P to go to Mesh maps, and let's go to normal in here. And it looks like we need to extend the cage to get a better result. Because this circle detail that we have goals so much into the surface that we need to extend the cage in order to be able to capture that. And by that, I mean, if I go in here and try to bake again, you see everywhere in here is getting baked, but that one in the center had transparency there. You see the circle in the center. You see it's not getting captured. So we need to extend the cage. To capture that. We have Max frontal distance and max we're distance. Max frontal distance is for details that are extruding out of the surface. And Maxwell distance is for details that are getting carved into the surface. And in here, in this instance we need the max weird distance. Let's drag this one up to something like this. Now you see every detail that we have is getting captured. Okay, perfect. And now let's go take a look at this one as well. Then you see everything in here has been baked perfectly. And we have these. Of course, one more thing that you can do is setting the smoothing groups based on the UV Islands. Let's go in, but let's go back in Blender. This is the low poly file. And if I go in here, let's bring that text tools. I believe that we have installed this in previous lessons in intro lesson. So let's go to UV layout. No, it should be in here in the mesh UV tools. We have a smooth by UVA islands. This is going to make sure that every UV island we have hidden in here is gonna be smoothing perfectly for bake. Now, in order to do that, I'm going to right-click and make smooth again. Now all of the smoothing has been corrupted. And now select this one and hit a smooth by UV islands. You see now everywhere that we have a UV island, it's gonna give us a perfect mesh that we can use. This is an option that I highly recommend you to start to use. And it's awesome thing. So now let's go in here and do triangulate and export it. So let's bring the polygon back. So this is a triangulated mesh that you get. This is the high poly, excuse me, the low poly. And re-export it on the same file. It's going to replace that. And then we're gonna go into substance edit and then project configuration. We're going to go Select and select the mesh. And it's going to replace that for us. Then we need to go rebate the file to get the perfect bake. Okay. Now we're getting these details baked. And of course he said this is only one polygon, but we have these baked details. And then in here as well, you see, we get perfect baking in here based on the low poly. And it's again, the same thing as this one. And this one that we had a detailed carved into place. Exactly. We have that. But this one that we could optimize it simply by baking the normal map. It's gone. It's available only on the hyperlink. And it's huge optimization to only have that on the normal. And if you rotate the lighting, you see it looks like it's there. It's in the geometry, but it's not, it's only on the normal map. So now that we make sure that the normal app is alright, we can go in here. There is a setting that is going to make the bake a lot more high-quality and that is the enzyme aliasing. One thing about this is that you do not want to push this distance a lot, because by manipulating that to a lower number, you will get the result that you want. In this instance, we push that a lot, but a lot of times setting that to 0.02 or 0.03 is going to work out this max frontal distance is for details that are getting out of the surface, e.g. let's go in here and let's say that we have this detail that we want to bake into the normal map. On this situation, we need to extend the max frontal distance so that the cage extends outwards in the normals to capture this. But in something like this one that we have that carved in the surveys, we need to activate the real distance. Now. We need to bake these words. Space normals, ambient occlusion, curvature, position, thickness, height, and length normals. We do not need opacity for this one. Okay? Now we got it all set up. It's on for k and an anti-aliasing is on four-by-four. Let it bake. That's going to take a bit of time to give us the result that we need. And I'm going to pause and get back to you when the baking is all done. Now we see we have the bake and everything is alright. And now if we go in here in the smart materials e.g. let's go for one of these REM parts, e.g. this still painted. See now we get this textured perfectly. It's showing details on the edges. And we're good to go, e.g. this one as well. You see, now we could start to texture this inside substance. Now one thing about the material, ID or ID maps, let me deselect them all. It's a tool to be able to select parts of the mesh based on a color. Now the colors source is material color. It's for vertex color if you are familiar with it. Now, let's use file ID and set the color generation to random. Now, it didn't work. Let's go in here in this drop-down menu and go to ID. It's not doing the thing that I want it to do. So let's go in here, set it to mesh ID instead. I believe that this should solve it. Okay, it did. Now you see based on the file that we have, we're getting different material IDs, e.g. on this one, it has assigned a separate color so that we can select it easily. So now in here, Let's go and do material. Again. I'm going to drag this one in. Let's go into layers. I'm going to right-click and add a mask with color selection. Pick a color. And I'm going to apply this. Now you see this bolt isn't getting effected by that mask. Now again, let's bring this still. Now you say it is being applied on anything. I'm going to go right-click Add Mask with color selection. And again, pick color. Just select this one. Now you see we get two materials on the same mesh based on different material IDs. This is something that we're going to use later on. When we get to the texturing process of the tutorial, we will talk about these concepts more. So for now, this was general concepts of how we're gonna do things inside these softwares, what the workflow is, and we have a better understanding of how things are going to work. Okay, now, see you in the next one where we actually try to make the actual measures. See you there. 7. Radio Blockout: Okay everybody, and congratulations for finishing the intro chapter. And in there we talked about the workflow and how the things are gonna be created in this tutorial. Now, let's go over some references to see the direction and where we're going. So this is the main reference that we have. Of course, I have three more variations from the same thing. And I liked something about every design is enough from this one. I really like this cut in here. I like this cut in here as well. Like the button placement in this one. Unlike the overall design and how those things have been separated into three different pieces. The front part, which is actually the main UI, the middle part, which is holding the things together and the back part, which is this one. And this is the reference that we're going for the backwards. So from every design, I have separated some things and we're going to mix things together. We're not going to go totally like this one. We're not gonna go totally like this one. We're gonna go something in-between. The thing that we're going to go for is this radio. And we're gonna go for this one as well. Because I believe this one has some more advanced set of challenges, e.g. how to deal with adding details on curved surfaces like this one. How to model some cushions, how to maybe simulate some cloth and things like that. Of course, we have some images in here as well. Because something that I had, this one is for the UI of the radio on this one and this area that we have the player, we might place this image there. Then we have this sound controller device in here in the center. I might do this design in there. Of course we're not going to model that, but I can, of course go and model that. I'm going to provide image for you. The techniques are going to be the same if you're going to model this one. And then we got this one. And I decided that I might create something like this, this LED screen. And we might make it something of a rectangular shape. To hold this one. We're gonna make it emissive inside painter so that it glows light as well. So now let's go see what we're gonna do on the radio that we're going to create has three parts. Mainly. We're going to start with the radio and then we will move on to the headphones. And just like the demo that we did, first, we do the base mesh, we check the design and we make sure that the design is actually non-destructive. And we're going to use a lot of Booleans. And I really encourage you to have some prior knowledge before starting this one, although this is a starting or a beginner's guide to game procreation. It's not a beginner course to Blender, although I'm trying my best to explain everything as, as much as possible so that those Beginner ones also can get benefit from this one. You will get a better understanding if you have prior knowledge to Blender and especially the Boolean workflow, because the Boolean makes it really more interesting. E.g. I'm going to carve something into this default cube. There are a couple of ways to go about it, e.g. the first one is that I go into edit mode and do Insert and then extrude it out. This is one way of doing it, but this one is destructive and it's gone. If you're gonna do some changes, it can go in here, try to bring that back. Let me bring it to here. If you're going to change it, if you're going to e.g. bevel, it can go here, but this one is destructive. And especially if you're a game designer, your team might require you to do some changes to the design. But Boolean design can enable you to do the designs especially so fast. And that is why I've chosen this one to be a Boolean piece, e.g. now, let's go bring the same cube again. And now let's go about doing the Boolean design. Let's say that we're gonna do the same exact cut in here. So let me bring the wireframe now, Shift D to duplicate this one and bring it up. And then let's rescale it to something like here. Now, with the Bowl Tool, activate it in here. If you have activated bull tool, he can go to Edit Preferences, Add-ons. And in here you can search for bool tool. It's a default Blender add-on, and I highly encourage you to this display as wireframe. It's gonna be a lot more helpful in creating your designs, okay, now, let's say that you are going to carve something into this cube. You just take this one, which is the Boolean piece. And then here we're going to click on the host piece that the Boolean is gonna be applied on. And then Control Minus and done. Okay? Now these are identical, especially you see that they are very similar. But the thing with this one is that because we have used the Boolean and using the modifier stack, using this Boolean piece, it's non-destructive and we can take it. And e.g. the designer wants us to do some changes to this one. So quickly. This one and bring it here and boom, a new design. And this one, a new design. If we wanted to, we can go here and try to e.g. take this one especially and applied a bevel modifier on that. And especially a new design. So let's bring in the segments up. And then in order to remove this jaggedness in there, I'm going to take this shift and the Spacebar go for smooth. Okay? Now let's go for 30 degrees. And now on this one as well as smooth for 30 degrees. Now it's gone. We have changed the design using the modifier stack. And because the Boolean is live, we can do any change that we want, e.g. we can go in here. And because we haven't applied modifier, we can change it on real-time, e.g. let me take this isolated. Now you'll see the default cube is in here. So now let me go in here. Take this bubble and let's say that I'm going to extrude this one up. Now, let's go back to see what we have changed. Now you see we get completely new design for free. But using this workflow, it's very tedious. You need to bring this back to here, remove it, do a lot of cleanup, and so on. E.g. do something like this. You need to bring some cuts, e.g. like this one. Now it's like this. Let me bring a cut in the middle as well. Now we go to polygon mode, delete this one, this one as well. Now, it's classic polygon modelling. We're going to try to create faces in here. You get something like that. And now you see this is not actually as powerful as that one because it takes a lot of time and it's destructive. If we're going to come back to change the design, we need to change a lot of things. So that's why I decided to go non-destructive in this tutorial. Now. And a non-destructive means that if I take this one and delete it, boom, we go back to the default cube. If we disable that one is C. Now the default cubes in here without any problem. Now, we're going to create this radio with three parts. This is actually the front part. This is the back part. And of course we have the middle part which is holding these together. And the middle part, as well as some designs to it. You see some indentations in here, maybe some wires. We model them LLC, which design we actually like. The cool thing is that it can so fast change the design to your liking. Now, the first thing is setting the measures in here and setting the unit because the radio is relatively small prop. So it would be more precise if we work in centimeters, but the blender default is in meters, e.g. let me delete this default cube. If I bring in a mesh and drag that cube, you see that the size of the cube is 2 m by 2 m. So that will be so huge. So we need to re-scale it and something like this. And let's apply the scale and rotation. And now let's say that we're gonna go to add some bubbles. But in here you see the bubble is point meters, which means that it's 10 cm. But we are working on a small probe or really neat to see the centimeters, not meters. So to fix that, we simply go in here. And it should be here in Scene properties unit. And the unit system has been set to metric. And I really encourage you to work in metrics. And then in length instead of meters, I'm going to set it to centimeters because we're working on a small probe. And it will make sense to work in centimeters. And if I hit N to bring this one, you see now the prop is, the dimensions are 4 cm by 4 cm in 19 cm. But if I change this one to metric 2 m, you see, now we get this value. So I'm happier to work in centimeters just for sake of consistency. Okay, now we did the unit setup as well. Let's delete the default cube and bring another default cue to start to work with. Okay, now, let me take the light and the camera and delete them because we do not need them. Now we need to block out the design for this one. Since we have three pieces, this front piece, this middle piece, and this back piece. First, we need to start with this middle piece that is holding everything together and actually gets out the actual dimensions because this is an imaginary repeats that we do not have actual dimensions for that. So I'm gonna go and we scale this and have this one as a guide. So now I'm gonna go in here, take the cube, and I'm going in edit mode, take this face and it also an S. And just remember that these shortcut that I do have been changed to the workflow. And if you or your workflow is different, there is no problem, but these shortcuts have been changed. If you do not know how this shortcuts have been set up, just go to introduction chapter. We have talked about the customization of the workflow and the shortcuts. Okay, now the dimensions are 2 m by 2 m. And that is way bigger than what we needed. So now I'm going to hit a scale and maybe scale it by 0.1. Now it's 20 cm by 20 cm. And I believe that the height of the radio is cool. But let's go for something like 25 cm. Now for x and y, let me see what that one is. This is the middle piece that we're blocking out. Let's go for something like 1010 is too much five. Okay? It looks like five is okay value. Now for x, we need to set it to 50. Okay? Now I believe that this is something like it. Of course, we can change the design a little bit more. E.g. I. Feel like the y value is a bit too much. So now let's go for war, because it has a front piece and back piece as well. So now let's set it to three. This one is a good value for the height as well. We can go set it to 23, which is a good size. And I'm eyeballing in here to see how I'm actually liking the size. Now, it's so important when you re-scale things or rotate things to apply the scale and rotation. So the shortcut for that is controlling a. Just remember, remember that these are very important for modifiers and things like that. E.g. if you go in here and add a bevel modifier, you see now the bevel isn't actually doing a good thing. It's not doing a good job because the scale has changed and this one doesn't know how to properly apply the bubble. And in here, if you assign the bubble, you see now it's not particularly doing the same thing. A good thing. If we go in here as well. Control V, You see now it's not actually going to the center, just like the way that we wanted. So the way to fix that is hitting Control and then applying the scale. Now you see it has been properly Booleans and everything has been centered. Here. You see that the scale has been set to one by one by one. And it's very important to apply the scale and rotation when you change them, especially for working with modifiers. And let's say that we go change something about rotation as well. Now you see the rotation has been changed in Z. And if we're going to apply that for a modifier or something like that, weed control an a and then apply the rotation. You see now it has been zeroed out. So you want all of these to be, for a lot of times, for a lot of situations to be defaulted out. Okay, now, let me hit Control and a and apply the scale. And we do not need to apply the rotation because we have not done any rotation on them. So now let me hit Shift D to duplicate it, and I'm going to bring it to the front so that this one becomes the front face. Especially talking about this one, which is going to be the main focus of this radio. Now, this one of course, is too much. Now to have a better scaling on this one, I'm going to hit Control F to isolate that and using the setup that we did. Now I'm going in here and taking this face and hit Alt and still bring the pivot in here. And that is because if we go in here, and I'm going to apply this scale, if I scale it in y, it's going to be a scaled based on that face that we did. The previous setup was in the center. If I'm going to apply the scaling on this one, you see it becomes scaled on the center and we'd need to push that back. So another way to save a bit of time is taking the space, applying the rotation, excuse me, the pivot on this one and now rotating or a scaling in here to get the proportions that you want. So I'm going to snap it exactly to this vertices. So let me drag it back. And I'm going to upload a snapping by hitting Shift and Tab to activate a snap. And a shortcut that we did for the snapping menu, I believe was Control, Alt and S. Okay, now I'm going to Snap to vertex and let's set it to active. Now, I'm taking this one and let's say that I'm going to apply that to this. Now you see it's exactly stitching these two together to create a seamless transition. If you just try to randomly move it, you're going to get something like this. But when you move with the gizmo and just a snap to something, it's going to snap it to that level, especially. Now the placement is good. And I feel like we can re-scale it in y by 1.5. This one is okay. I believe that the actual size is very good. So now let me apply the scale on that. And now we need to block out the back piece, okay, now this one is gonna be a bit thinner than this one. So now I'm going to hit Shift D and disable the snapping mode. And I'm going to rotate that by negative 180 degrees and drag it back in here. And let me apply it as snapping again. Then I'm going to snap it to here perfectly. So instead of one-and-a-half centimeters, I'm going to make it one. Now. Looks like this is a bit too much, okay? 0.75 is a good value. We have blackout the scales and everything. So now let me take this one, apply the rotation because we have added the rotation to it and apply the scale as well. Okay, now the pivot is in here. The pivot of this one is in here. The pivot of this one in here. It doesn't change or it doesn't matter actually, unless we're gonna do some dramatic changes. Okay, Now, let's start by applying the round shape that we have here. You see now this has a round shape, but this one is relatively flat. So now let's go bring this one. And of course I'm going to bring the reference image so that I can take a look at it. And now I want this one to be a bit rounder. So now I'm going to go in here, take this edge and this edge added control and b2 do a bubble. And what you need to do is heading. See, you see that? When I'm trying to go beyond the extent you see now, it really tries to destroy the geometry. But in order to prevent that from happening, you need to hit C to clamp that so that it doesn't go beyond the actual geometry. So now we need to add some more geometry to this. I'm using mouse wheel, mouse will up to add some segments to this, okay, now, I believe four segments are going to be good. This 11 thing is that when we are trying to clamp a lot of times or all of the times, something like this happens. You see now we have some overlapping vertices because when it tried to clamp, these vertices reached to the same place and it prevented the bevel from going too far. So something like this happens. In order to fix that, we go to vertex mode, hit a to select all of them, and M to bring in the merge menu, we hit by a distance. Now you see two vertices got merged. But we can go too far on this one and make this one non-destructive as well. So that we can control it real-time everywhere. Because now we have the bevel logged in. We can not change it whatsoever. So now I'm going to go back and let's go back. But we're going to do that using the bevel modifier. But this one, you see it only applies on this one. And it applies the bubble on all of the geometry. But we do not want that. We want the first pebble to be applied only on this part. So one of the ways of doing that is limiting the geometry and to create vertex group and assign them to them. So a lot of the blender atoms have something called the vertex groups. So for this one, I believe it should be in limit mode. The default one is set angle. So every angle above 30 degrees will get doubled. But if I set this to 90 degrees, we see now nothing gets bubbled because every edge in here is 90 degrees. But if I drag it back only a slight bit, all of them will get captured the k. Now let's bring it back to 30. And in here I'm going to go to vertex group. But in here, since we do not have any vertex group, everything by default is there. So now I'm going to go in here. Let's disable the bevel modifier. For now, I'm going to take this edge, these two edges, and I'm going to go to Object Data Properties. And in vertex group, I'm going to create a new vertex group and assign. Now, if I select, de-select, you see that these two get calculated in there. So now let's go to modify. And in here vertex group, I'm going to go and select this one. Now we need to activate this. Now you see only this portion has been calculated. And if I apply e.g. some more vertices, you see now only this one gets calculated, which is actually what we want. Let's go for four and we're seeing some jaggedness in here. And that is because we have not applied to a smooth fit on these ones. Okay, 30 degrees. Let's go for this one as well. Smooth 30 degrees. Move 30 degrees. This is crucial for the workflow that we're going for. Okay, now, this is the vertex group. And if I go invert that, you see now, all of the edges except for these two, get calculated. Now I'm going to add another bubble to make this one totally rounder, e.g. you see this one is a bit rounder than the middle piece in here. So now let me go in here. And now we were talking about non-destructive workflow. You see that we have this one. If I go and try to change this, you see, every time we can go and non-destructively tried to change the bubble to our liking. Okay, Now this is about the non-destructive workflow. You can go and change everything every time to your liking. Now, after adding double, it would be good idea to go and shading and applying the harder Normals, it will make the normals recalculate a lot better. So now, after this one, I'm going to minimize this and go add a new bubble. And this bubble is going to be applied on all of the geometry. So again, we're going to go, we're going to go to shading or the normals. And let's apply four vertices. And let's make it. Bit like something like this. Now you see that this one is totally non-destructive and we can go and try to change it to our liking whenever we want to. Now, if the shading is alpha-beta in here, you shouldn't really care about it because this is not a blender aimed course. This is for producing a prop and bringing that to a game engine. So a lot of these issues later on will be fixed in ZBrush and using the sculpting and it's not gonna be a problem. But if you really want to take this one out, you can go to Add Modifier and otherwise abnormal to fix a lot of these issues. Now let's make it something like this, okay. Now done. The front part has been locked out. And we can go and try to do the same thing for this one. We can now bring in a bevel modifier. On this one, I'm going to add only one bubble. And let's see how many segments we added in here. Let's expand the bubble. We have four in here, and let's go in here and set it to four as well. It makes the consistency to be a lot better. So now let's go to Shading harder normals and we can add a related normals as well. It will do the same thing. Let's clear this one out for now. And this is the backside we can go for. But I feel like this is looking just to plasticky. And we can go try to bring the actual amount down to something like this. Okay, now this is a lot better and holding out. So well. So now let's go for this one. And I believe that according to the references, let me bring up the main reference. You see now this one has a round shape as well. It rounds up in here. And this one as well, it rounds up. But it's gonna be sharper than these ones. I'm not going to do a lot of interns bubbling on this one. Okay, Now let's go at a bubble and I'm going to bring the bevel down so much. Something like this. I feel like it's okay. So now let's add four segments. But instead of adding the bubble on all of it, Let's go again and bring the vertex group or bring their weight. This is another way to add it. And in order to do that, let's isolate it. I'm going to go in here because I'm going to only round these ones and not the front and backwards. Okay, now let's take these. And if you hit N in the transform menu, you see now we have an option which is called the mean, but we'll wait if we try to increase this one up. You see now these get marked for the bevel. And the reason that nothing has applied yet is because we need to apply the bubble. Okay. Now you see it applies the bubble on these parts and not on the front and back port. Okay, now let's go back and try to see that. Now, I'm happy with this one. Now, let's go and apply a general bevel on it to highlight some edges. Okay, now I'm going to drag this one back. This is too much. Only wanting very, very slight bit of bevel. And now let's go for 0.1. 0.1 is a good value. And now let's add four segments to it. Now, four segments is too much. Let's add only one bubble. Now let's go to shading or the normals note are, the normals isn't good for that. But it's good for this one because I want this one to be a bit stronger than that. Now, another thing that I'm actually noticed is that I do not like this one to be beveled. Do not want this top and bottom edge to be calculated. So now in here, Let's go vertex group, try to remove it. Now you see we do not have a vertex group in here. It has contained everything on that. So let's remove an in here. Let's go for weight. Now, I'm going to select only this one and this one for the first double. Let's try to deactivate this bubble so that we are seeing only that bubble. And this is a shading issue. No problem. We can go for mean devil wait, and try to increase it a bit. Now, if I try to take a look at the geometry without actually having these ones. So let me take this one and this one. Excuse me, I was manipulating the vertex data. We need to manipulate this edge data. Now you see, this is actually what I want it from that. Only wanted this side edges to be calculated and not the front ones, not the top and bottom once, excuse me. So now I'm taking this, let's extend database to something like this. Now we have this round shape in here and flat shape on this side. Okay, now let's apply another bubble that is not working because of the clamp that this one has. In geometry, it has a clamp overlap. If we enable that, you see, it tells us where the problem is. And that is because this pebble is to close that we bring that back. Okay, now, you see this bevel as well gets calculated. Because let's take a look at this geometry in here. You see now this is what happens if I try to bring it closer. You see now we get two vertices so close to each other and something like this, they totally are overlapping. And this prevents the next pebble from kicking it because it has an overlap. You see this overlap tries to prevent from that because these two vertices are so close to each other that cause some issues. So we need to, well these vertices, but if we go in, you see now no vertices exist in here because these are all fake geometry. We have not applied these yet. So one way to fix that is by going in here and bringing the world modifier. And I'm going to bring the world modifier before this bevel modifier. Now you see, because this will modify, it tries to weld some vertices that are overlapping, although we have the clamp overlap in here, because these vertices have been weld, welded. This pebble as well kicks in. I hope it makes some sense. But it's the way that this workflow is going to work. And let me show you with some statistics in here. I'm going to go in this menu and bring the statistics up. So now in here, you see that we have two, any two vertices. But if I tried to disable that, you see now we get 24 vertices. And that is because these two middle vertices are overlapping. Overlapping geometry prevents the double from happening because it tries to do the bevel and that one tries to cause some issues because these two vertices needs to cross each other really. And it tries to bring some issues. We can go and bring in a Bevel modifier, try to vote these vertices so that it goes on. Okay, now, I don't want this one to be so soft. Let's go for the second bubble. Let's go in here. And only a small bit, 0.05, maybe a good value. Okay, Now I'm going to go to this mode and try to take a look at it. And actually, I'm happy with how this is going, but this one is a bit too soft, I believe. So. Let's bring this one. And I feel like the bubble and this one needs to be changed. I'm going for the overall double, not the bubble that we assigned only for these rings that we have here. Okay, now, let's set the amount to 0.5 as well. Okay, Now, this is the look that I'm going for. Now, the block code has been done. These are the shapes that we have. Of course, later on, we will go for the headphone piece as well. But for now, we're only caring about creating the base mesh for the radio. And I feel like it's enough for this lesson. And the next one who will go and try to add details to the front part and then moving to the middle and back parts as well. Okay. See you in the next one. 8. Front Panel LEDs: Okay everybody, this is where we left off. And I'm actually liking this design, especially here. I do not like it. I really want this part to be attached to this place. If you take a look at the references, you see that It's somehow connected to the main piece in here, but this one has a double bevel on both of the sides. Okay, now I'm gonna go in because this pebble is based on the bubble weights. Let me bring in everything back. You see now this edge has the bubble weight. Now, if I try to bring that back, let me explain you by going into the modifiers. This is the first bubble that is doing this one on this can, I would say it's based on the edge bell weights. And if we go in here, you see now we apply these double weights on these ones. Now I'm going to take this edge that we want to apply to that. And I'm bringing the edge bevel weight exactly back. Now if we go back and see now, it's more connected to the piece. And I'm actually liking that a bit more. I'm going to do the same thing on this one. I'm gonna make this not so soft. So let me bring everything back. I'm going to select every edge in here. Before. I'm going to remove that. Then I'm going to bring in the bubble weight up on all of these. Okay, Now, in order to change it, I'm going to select it in here in limited method instead of angle, Let's set it to white. Now, see now this one in here doesn't get any bubble at all. Okay, now let's go back and I feel like this is okay. But we could use some bubble on this one. Let's take it. And the edge bubble weights on these ones are 0.99. I'm going to add only some bubble weights so that it gets slight bubble, very, very low amount of Babylon. This when I'm taking a look at the references, I see that this one is a bit rounder. You seeing here, especially, you see that it's very rounded, but it's not the case in this one. Let's see what we have in here. We have this one that's disabled that bubble. And I'm going to extend this one a bit more. Okay, Now, let's set it to ten. I'm actually happier with ten. Now, let's go back. And one thing, there's a bit of inconsistency in here. And we need to fix that because I want these to exactly follow the same curvature. One way is doing a Boolean piece. Again, I'm taking this one and making a boolean from that. Another way is to add bubble, bubble with the exact same dimensions like this one so that they follow each other. Okay, and instead of using the bevel, Let's go for the Boolean piece. I believe it's going to give us a better result. Now, I'm going to Shift D to duplicate this one. Then we need to apply the bubbles on that so that it becomes real geometry, not fake geometry, something like this. We cannot manipulate the geometry, run this. So now let's see, I do not need the site bevel. Let's see. I'm going to remove that. Now. This is what we get. Then I'm going to scale that in y. And we're going to understand why just in a minute. Now, you see this piece encompasses these two and we need to do something. And that is cutting this piece using these, or especially cutting these parts using this Boolean piece. So now let's take it, apply and scale and apply the bubble. So that becomes the real geometry. And now what we need to do is to make a Boolean so that we cut this piece using this one. So now I'm taking this one and taking this that represents the actual shape of the middle piece that we have. And it control minus or let's do the reverse. I believe we should do the other way. I'm taking this one and this one, I'm setting as active and Control minus, and it's actually doing the reverse. It's actually the exact opposite of what we wanted. We wanted the center piece still remain and these extra pieces to get removed. So now we need to go change the mode to intersect. Now you see, this is what we get. If I go back, you see now it follows exactly the same curvature, which I'm actually happy, happy with. And now since this Boolean is alive piece, I can go take this one as well, control minus, then I'm going to set the mode to intersect. Now let's take this and create a folder for them and just call them Boolean. So that I can hide it or bring it wherever I want to. So now there's a bit of shading problem. Let's see where it is. Let's see if we can fix it by bringing in weighted normal modifier. No, it doesn't. So the problem is, I believe, because of the order of the Booleans, because we have many Booleans in here. Of course we have many bubbles in here and one Boolean. So let's bring that on the top of the list. And now you see because we have some vertices that are close to each other, it's preventing a lot of these bubbles from kicking in. So now let's bring this back. Okay, now, this is exactly what we want. And you see, let me turn off all of the modifiers to see what is happening. First, we have this cube, then we are applying bubble on this edge. Then we get this Boolean to cut off from that edge. Then we are welding some of the vertices. And then we're actually adding another bubble that is rounding of all of these edges. So this is the order of the Booleans and how they go. And now let me go in here. And I believe that if I bring this on, this one up to the top of the list, we should get a better result. Now, this one, I believe if I add weighted normal modifier, that should fix the shading issues or not, Let's bring the bevel up. Then we have the Boolean. I believe that some issues could cause this problem. One of them is the bevel way that we're using in here, because the bevel weights on these edges, let me select the edges except for this one, the birth weight is one which is high value. So let's drag it down and let's go back. Instead of bevel weight, Let's go set the, set it to angle. Now, we're getting a better result. We're getting a separation between this one and this one as well. Now let's take the Boolean peace and drag it before the bubble and it solve the problems. Sometimes the order and how they have been placed will solve the issue, okay, now, this is a very good result. I'm happy with how the things are going. And let's go in this view to see it, to be able to see what is going on. And let's see where did normal. We'll solve this one as well. Okay, Now we got the blackout piece done and ready. Now we're ready to move on and add more details. Okay, now we have all of the parts settled in. And now that I'm taking a look at the reference, the first thing that is so obvious is this current line in here. It's almost totally to how we want that to be. One is this one this colour that you see this design? One is something like this and L-shape. One is this one which is a bit more to my liking, but I'm going to reverse this design. You see we have this flatline at diagonal line and another flatline and goes on. And I'm going to reverse that because I'm going to make this piece a square and this one rather a rectangular piece because I'm going to place this one on this LCD and place this one on this one in here. And let's minimize this. And I'm taking and look at the reference to see what we have here. Let's see about this one. I'm going to mimic something like this design, but I'm going to reverse that. So now we have a lot of Boolean to do. Let me bring in a plane. Now this is something better. Now let's take these two and isolate them. I'm going to bring everything back. I'm going to bring this one up exactly somehow to the center of this piece. Okay, let's see about the dimensions of this one. The dimension on the height is 23 cm. And in order to get this one exactly lined up on z, we need to go to a location. And let's say 23/2 is calculated under result is 11.5. And sometimes these calculations are handy if you are going to do the calculations. Calculations, the blender will help you, e.g. if your height is 25 and you want the center of it, or the third of it, hago, 25/3. It will do the calculations for you. Okay, now, we see that the dimension is 23 in here. Let me go in here, select it and 23/2. Now this is exactly in the center of the piece. So now I'm going to use this plane and cut this line just like the way that it is. But before that, let's apply rotation and escape. I'm going to go to Edit Mode and hitting Control R to drag a line to divide this. So now I'm hitting B, so that this is a Boolean piece, excuse me to bevel that. And I'm going to edge mode. And let's go bring in the box x-ray, and I'm going to select this one and drag them up. Okay, Now, in order to test the design, let's first apply the Boolean. So I'm taking this piece. Let's apply the rotation scale. And I'm going to take the host peace and Control minus. Then it's going to cut this piece and remove everything in between. But in order to take that back, we need to solidify this geometry because if you have only one plane, it's going to take a look at the normals and remove everything that is facing the red normals. So let me go and bring the face orientation bag and take this one. Hit F3. Now you see these faces that are red are removing everything that is after it. But if I go and take this one and try to solidify the geometry, e.g. take all of them in polygon mode and try to drag it back. You see now we get this piece back. But in order to keep that more non-destructive so that we can control it later on. I can take this and instead of adding the extrude manually, we can go at a solidify modifier. Okay, now you see it brings everything back because we have now a piece. And this piece is controlling the way that the Boolean is going to look like. If we go in. This is only one piece of geometry. You see it's just like this. It's not real geometry, it's fake geometry and it's there. So let's take the offset, set it to zero now that negative one was good. And now let's set it to 0.1. And let's set it to 0.1. Looks like if I drag this one into the Boolean pieces, let me take this so that it gets hidden. Now you see we get a cut exactly like so. If we go in here, take this plane and try to change it, you see dynamically tries to change the design. This is a good thing about this workflow. You can change the design so fast and it can take e.g. go in and let me bring this one up. And let's say that you want to do something in here. You bring in extra vertices and try to change it to something e.g. to your liking. Everything that you do is non-destructive and you can change them if you wanted to. So now that we have done this, let's hide these and take a look at what we have done in here. I'm actually happy with this. Let's go back and you see we have only done the cutting on this part and not the rest of the parts. And if you want the rest of the parts to get affected by the same Boolean, that is so easy, you can go bring the Booleans back. And this is the Boolean piece. I can take this one again, Control minus to do the same thing to this, to do the same cut in here. But I actually do not want this guy to be in here. So let's hide this collection for now. And now that I'm taking a look at here, let's do this design in here. It's a diagonal line and then a flatline Boolean doubt there. Okay, now let's go bring in a cube. And the cube, this scale is really awful. We need to re-scale it until we get to here. And now it should be okay. Let's apply the rotation and scale. And a lot of times when I'm doing the Boolean, I take the Boolean, then take the host piece, do my boolean, and then I go and change the design on the Boolean piece. Now it's live and we can do whatever we want it to do. So Let's take this, bring it back, and then I'm going to take this one, drag it back so that we have some kind of diagonal line in here. Now let's go back, take a look at it. The great thing is that we can go and try to do the same thing on this one as well. Let's take it and bring it up. And let's take this one to something like this. This one to bring it up. You see, now we get something just like this one in here. And the good thing is that if I go in here, bring the pivot in the center and try to re-scale it. I can take instantly whatever design that I'm actually liking. It looks like this one is giving me a cool result. Let's go back and try to take a look at it. I'm liking the design so far. If I wanted to change something, I will come back and try to fix it. Okay, now, let's take this, apply the rotation and the scale. And since this Boolean pieces live, we can go in here and try to bubble this piece. If we wanted to, we can try to add as much segment as we wanted to do any change that we want on this. It looks like we have some jagged lines in here. The reason for that is because of this one, we haven't smooth. And let's set it to be based on the degrees which is, which it is. But in order to get the normals right, we need to go in here and bring the weight at normals down the list. Okay. Blender crashed and I had to reopen blender and bring this one. Okay, Now, according to the reference, I feel like this is closer to what we have here. You see the lines are so sharp and we do not have a double in here, but I can drag this one a bit out. Let's bring it out to something like this. And later on, we could do a design in here to put some speaker lines or whatever we want it to, with no problem. Okay, Now, shift and a spacebar to bring everything back. I'm going to take this one and add it to the Boolean collection using m. And do not worry if these lines are looking to sharp and low poly. Later on in the high poly section, we will go and try to fix them. But I'm really thinking to add a bevel line in here. And I'm going to do that using the Boolean as well. Again. You see the shading is corrupted a bit, but I said this is not aim to be rendered in blunder. Of course, using the workflow that we do. There's no problem to render that in Blender as well. I mean, this base mesh isn't going to be rendered. So we do not care if the shading is corrupted or anything because later on this is going to be converted to high poly sculpted in ZBrush and all of the shading problems will be gone. Okay, now I'm going to use this one. Let's bring in a cube. And since this one respects the normals, I'm going to bring it exactly on this part. Okay? Now let's hold down shift so that we drag the cube. And then because the pivot is in the center, I'm going to cut, cut a line on this edge. Let's drag this one out. And I'm going to bring the snap menu Control, Alt and S to see what we have here. Let's bring the edge and let's try to snap it on this edge. It looks like we need to turn on the rotation factor as well, aligned rotation to target. And now looks like it's not doing anything that I want. So it's only good to snap that to this page. Now, let's turn the snap off. I'm going to bring it here. And let's rotate that 90 degrees or 45 degrees. Instead. I'm having the degree there. Now, let's take this, take this one Control minus, and this becomes the Boolean piece. Okay, now, let's try to take the Boolean piece. I'm going to hold down S and Z. I'm going to re-scale this so that we get a panel in line in here. And I'm actually liking that. So again, let's bring the scale in z. Looks like this is okay. And let's take this line and this line and try to bring them closer to each other to create a diagonal shape for a more Boolean piece. Okay, now let's see what we created. Actually perfect. I'm happy with it. An extra design that adds a bit of more look that we want it to this shape. And I'm going to keep this one sharp. I'm not going to do anything. But let's before that, let's go make that as smooth. And then based on 30 degrees, 30 isn't okay. Let's make it 20. Excuse me. They can go in here on the normals. Let's make it 20 or well, let's control the couple of times to go back to get this one. Instead. I don't want the smoothing to take place. One thing to notice is that if you go to Edit preference, the system, the undo step, I believe by default should be 30 or something. You can up this one up so that they can more undo steps. If you change something too much, you can revert that back. Okay, now, let's go back and see what we have done so far. It looks like I can take this and these two and just drag them down a bit and take a look. It looks like this one is a lot better. Now let's go and take this one using M and move it to the Boolean collection. Now right away, I'm going to do something and that is carving the place for these two LED pieces. And I want one of them to be a bit of a squarish piece. One of them to be more of a rectangular shape. So that later on in the texturing phase, we can place these two as the LED screen without having to model everything. So now let's bring in cube. Right away. Let's set the size to something like ten. Now it looks like dan is too much. Let's go. I'm comparing the size against the actual front panel in here. Let's set it to be scaled by 0.5, which makes it 5 cm in here. It looks like a five centimeter or let's make it 7.5 in all of the directions. It looks like this is good value, but we need to do something that is taking this cut in here and bring it down a bit. And he said This is the powerful thing about this workflow. Now that we need a change, we could go and easily take the, take that. And bring it down, okay, Now I'm taking this and try to bring that in Z. Okay, perfect. This would have, wouldn't have been possible using the traditional workflows. And this one really enables us to do a lot of cool things. Okay, now let's apply the scale. And I'm going to go make the pivot to be in here so that we can control the LED screen on this side. Now, I'm going to take this and take the Host Control minus. And now I can have the control to carved the LED piece to be in here. But in order to make that a bit more good-looking and capturing the normals, I can go in here and try to take this edge like this face, excuse me. I'm going to do a small bubble. But before that, let me take this and drag it back. Like so. And we're gonna do reverse bubble on this side to capture some of the normals. So I'm going to take this back. And you remember that by hitting Shift and Shift and N and recalculating the normal by doing the bevel this way. This will actually do a reverse bubble. Like so. Now I'm going to add only one extra vertices. And if we go in here, try to take a look at it. You see now this has a bit of paneling in here. And of course, in the introduction chapter, we have talked about the reversed beveling. You can go back and try to see how we have done that. Okay? I do not want the LED screen to be called so far in the geometry by just wanted to have it a bit end because when we take a look at the references, you see it's not so far onto the geometry. One more thing, the size of the bevel in here, I want to actually double that a bit. Now, let's go back and take the Boolean piece in here. This is the Boolean piece. And I'm going to go in here, take this. And I can bevel them just in here using the destructive workflows. But I'm going to make the bubble actually to do that. Now, let's add the mean bubble weight to one. Now, if I go add a bevel to this, it's going to bubble what we have in here, but I'm going to set that to angle. No, set that to weight. And that is too much. We need to only have a small, a small bubble, like so. And now let's add some vertices to make it round. Okay, four is enough. Now let's take this looks like there are some jagged lines in here. So we need to go make that as smooth. And based on 30 degrees, it looks like the normals are wrong. Again, if you are going to fix that, It's going to be fixed, just go add related normals and enabled to keep sharps. It should fix the issue. Now, let's try to take a look at it in here. It's perfect. Let's not try to minimize these. Now. See, we have a lot of them showing up in here, and this is the powerful thing about it. If we do not anything, if you do not like anything, we can go back and try to remove it and get another design so fast. Okay, Now, I'm going to call this rectangular LED, so that later on we could host this texture onto that. So now I'm gonna go and bring another cube. Now it's ten by ten by ten. Looks like that is too much. Let's go set it to five by five. I'm going to drag it out. And five by five by ten looks like a very good value. And it fits exactly the part that we want it. Now, I'm going to place the pivot in here. And I'm gonna do the same thing for all of that. Let's take these edges and mean double weight, set it to one, so that later on we could Boolean that out. And now you can bevel that route, Excuse me. Now Control minus. And then I'm going to take this, bring it back so that we could do a reverse bubble, but now the shading is corrupted. We could fix it later on. Do not worry. Now first, let's add another related normals on this and hit sharp to correct the shading. Now we need to go change something about this. Let me take the Boolean piece in here. Let's apply the scale and rotation. And then I'm going to take this Shift and N to recalculate the Normals Inside and ship them be to do a bubble. Now that I take this, let me take it and drag it in NY. Just a slightly and holding down Shift. To be more exact. Now it looks like we need to drag this one in just a bit. And just like that, we need to go and add a bubble on this one as well. Let's take the Boolean piece and I'm going to add a bubble. And that bubble is going to be based on only the weight. Let's drag it out and only this side is okay. Okay. And now I feel like it's a good one, but it looks like we have added vertices and haven't added the bevel weight on that. So now let's hit F3 and this to be able to visualize the geometry, the real geometry, I mean, that is present in here without the bubble. And in here you see we have the edge bevel in here, the bubble weight, but the edge that we have added later on doesn't have any. So we select this one and simply go to select an edge loop stage rinks. It selects all of the edge links with the same things in there. One. Now if I go back, you see the problem I believe should get solved. It looks like we need to drag this one out of bed and y to recalculate that. First we need to go and apply the real-time on this. And it's so far out. Then we need to take this and F3 to hide the geometry and move it to the Boolean pieces. Now, this is the piece or the LED. And I've been like, the pebble that we have in here is too much. I'm actually liking that this one follows the same curvature at the outline piece. But on these inner ones, I'm going to change that. So that's an easy fix. We could go bring the Boolean pieces, take this one and take these edges. Let me isolate this one. And I do not want to take this one. Let's go to edge loops and edge rings. And I'm going to de-select this. And now all of these have edge weights, mean double weight of one. I'm going to reduce that to 0.5 and this one will reduce the bevel on these. Let's set that to 0.25. Let's go back and try to change it. And you see now this is more like it. But on this one in here, I really liked that. And I'm going to keep the design like so because it follows the actual curvature of the geometry. And I'm liking that. So I'm going to take this one and I'm going to drag that down a bit and z so that these two line up a bit closer to each other. Okay? Now, there's a bit of accidents in here. We need to go take this plane and drag it down a bit more in z to make that happen. Okay? Now, I feel like it's enough for this lesson. The next one, we will go and try to do more changes to this. Okay. See you there. 9. Refining The Front Panels: Okay, Now this is the point that we wish to in the previous lesson. And now we're going to continue to make the design even more better. So now having a cycle look at references or soda, or there might be some changes that we need to do. E.g. I'm taking a look at these panel in lines in here, just mimicking a shape of maybe a speaker or something. It would be amazing to add them to the design. And I liked this panel as well. I really like the shape and how it follows the curvature of the line that we have here. But one thing that I'm really liking to change is the size of this panel. So let's go take the Boolean piece. And a great thing about the workflow is that it can change whatever you want or you don't like, you simply remove it or change it on real-time. And that is not actually a problem. You can do that really fast. So now I'm taking and reaching to this point. Okay. Now let me take a look at it. By going to know wireframe mode. I just feel like it's a lot better. One thing for this panel is that I do not want it to go too far because later on when baking ambient occlusion on this part is going to be so dark because under low poly, we're going to remove that completely. Going so far to capture that information would result in a dark ambient occlusion in this part. So now I'm gonna go take this one and let me drag them back. Something like this would be awesome. Just, we should drag them out so that we have some geometry in this part. Like so you see that we are capturing drum geometry on this one. It looks like we could go a bit more on that. You just take them like so. And this one gives a little bit of more shape to it. I believe. If you do not see the panel going through all the way, you can go take the car or take the Boolean piece. Let me bring this one, go to Edit mode. And I'm going to add a loop cut. Then make that goal for that point. So now let me take this point and drag it back and bring it to here. It's like both of them. Now we see some panel cuts on this one as well. But looks like there's a problem in here which you can go and simply try to fix. So take the Boolean piece and now take this one and push it back until it captures all of the geometry perfectly. Okay? This one is a lot better. And in order to make it more manageable, I'm going to take this one, drag it back. However, that is not actually going to affect anything. That was just for making the piece manageable on edit view. And that's the great thing about this workflow. You don't like something, you just go simply try to remove it or change it on real time. So now I'm going to add a panel in here that is going to follow exactly the same shape and make that a spirit speaker shape that we have here is that this is going to kind of mimic shape of a speaker or something that we're going to create. So now, in order to do that, and instead of creating new geometry, I'm going to take from this geometry and continue to make that. Now we have this. Let me just bring this up slightly because I'm going to follow the exact same curvature on this one. So now that we have this, let's go and select F3 on this. And I'm gonna go in and try to remove these. First, remove the solidify modifier so that we're left with this only. Then I'm going to take this and try to remove them because we do not need them. Actually. Looks like we could go and try to remove these vertices as well. So now let's take these, align them to left and remove them. Or let's Control Z to go back and remove the polygons only. Now we're left with this piece. So it looks like we could bring this one back. And I'm going to bring this one back until here. Then e to extrude that. And I'm going to bring it up exactly to this place and then extrude and I'm going to exactly bring that back on this corner. Okay, let's see that. And bring it exactly two here. Now, I'm going to bring a vertices in here, and let's double-tap or triple tap G depending on your workflow. And I'm going to take these and try to remove this polygon. And then we're left with these two. Merged by distance and just bring the threshold up to join them together. Again. Now we got this piece that we could Boolean into the piece. But before that, there are some considerations. Let's go in. I'm going to alter an S to bring the pivot in the center. And it here, we need to cap the geometry so that it cuts off the geometry perfectly. So in Boulder more or edge mode, Alt and select, right-click and N to create a new phase. And in here as well, Right-click and to create a new phase. So now we're going to go to face orientation and looks like we need to flip the vertices and flip the normals. So now, in polygon mode, just select everything Shift and N to recalculate the normals back. Now Alton a excusing controlling a rotation and scale. Now let's go back and I'm going to take this one as the Boolean piece. I'll take this one as the host piece control and minus to cut that into the piece. So let's go back and see what we have done. And the first thing is that I'm going to take this one and drag it out just a bit. I do not want it to go for because later on we're going to remove that and only rely on baking this into the normal map. And we do not want to use the geometry, run this to save a lot of things. Now, let's bring this one back. Okay? Let's try to see how the curvature is going. Now, I'm gonna go in edge mode and I'm going to follow the same curvature that these have. Now control and B to add a curvature. And then I'm going to take them and drag them back a bit so that it follows exactly the same thing. Okay, and now let's take this one as well. Take this edge only, and then Control B. But this time I'm going to add little bit of curvature. And then I do not actually like this piece in here, this sharp edge. So I'm taking that control B2 bevel that and add this. Okay, now let's go back and see. I'm actually happy with how the piece is going. But we could go and try to add the reverse bow as well. Again, I'm going to take this, let's isolate it. And I'm going to take this edge Shift and N to recalculate the normals. And now I'm going to Control V to add a bubble. Like so. It looks like we haven't yet applied the normals. So Shift and N. Now the normals are recalculated. Now you see the normals are working correctly. So now I'm going to take this and just try to mimic the surface. Now when we're looking at that in this one as well, we're seeing the exact same thing as the above one. So I'm happy with it. Let's take a backup. And now it's time to bring in the speaker lines that we have in the reference. You see, we're going to create something like this, but not actually the same thing. It's going to follow the exact same curvature. So in order to create that, we need two pieces. We need the speaker lines. And then who need this Boolean piece to cut the speaker lines only in these borders. I do not want them to extend out in the surface. I want them to be in these borders. Exactly. So now let's go take care of the speaker lines. Let's create a cube that's not the size that we wanted. So I'm going to re-scale that a lot. And I'm going to bring that exactly in here and try to match up the scale to the proportions that we have here. Now, let me drag it here. We could make it something like this, or we could re-scale it a bit depending on how many speaker lines you want. So it looks like this one is a good value. And now let's rescale that in y so that we make sure that all of the details are gonna be captured. So now rotation and scale applied. In order to make that refined, I'm gonna go take these In the edge mode and Control V to add a bevel so that it captures the normals as well. So now I'm going to take this one and use an array modifier. So it's working perfectly because the direction is right. We're gonna array that along X. And let's bring the array number to a higher value to exactly this number. So let's bring that back. And it's doing a perfect job because. We're actually mirroring that along x if you want another direction or if you have created your geometry facing this way, he could go for y, but for now, x is gonna be alright. So control an a on modifier to apply it. We have this line that we could use. It looks like there's not actually a distance in between these. So Control Z to go back. And let's try to increase a bit of distancing in between them. Looks like this one is alright. And a bit of more. Distancing would be a lot better. So now they could go and try to remove how many of them we want. And then I'm going to take this and the Boolean piece, that is this one. Okay, Let's isolate them. And I'm going to create a duplicate from this because I'm going to limit all of these speaker lines only to be in these borders. So we need to make this one a cutter piece, the Boolean piece that removes the rest of them instead of going and actually trying to manually remove them, which takes a lot of time. So now I'm going to Shift D to leave it in the same place and take this one, can again try to hide them. So now I'm going to apply the array modifier. And let's try to take this. Now I'm going to hit F3 to have the real geometry. So now there's one problem with this. And that is, we went ahead and try to reverse bevel on this one. You see these lines in here. If I go into face orientation, you see now this needs to get flipped. So Shift and N. Now let's take this and try to re-size it just a bit so that it becomes consistent. Or we could go and try to remove this one completely and take this, bring it down. Take the vertices or the edges, right-click and N to bring the new phase. Now, I'm going to take the panel that we have and take these ones, Control minus, okay, Now this is exactly the opposite of what we wanted. We want only the inner peace still remain the outer pieces to get removed. So we go and instead of using difference, we go and intersect. Then I'll see the panel lines in here perfectly. And we could go back. Now you see the result is perfect and seamless. And everywhere in that, we have the panel lights. And the problem is that they are a bit out of this space and there's not a problem. We could go and try to bring them in and the problem-solved. And because we have added the pebble, it's going to look very good in the normal map. Okay, now this one is good. But I feel like on this panel cut in here, we could go and add a bit of more detail. So let me take this one. It has solidify and it has added the geometry. So after this one, I'm going to add a bevel modifier to round this pieces of a bit more. So that is too much. Let's go add a slight bevel. Now, you see that it's more prominent in the normal map view. If I try to turn this off, you see now we do not actually see anything, but in this one, it gets more permanent because it has now some geometry to work with. So let's go for shading, harder Normals. It doesn't work because we need to take this piece and try to shade smooth and then based on 30 degrees. So now there's a bit of shading error on this one. No problem. We could go and add weighted normal modifier. And it keeps sharpen. To remove those issues. You really shouldn't care about these issues because later on we're going to fix them in ZBrush. Now let's remove this one. Let's go back. This disabled the auto smooths, the normals as well. The issue is because this Boolean piece is so close to this line, this curvature line that we have. So I'm going to go in here, take this Boolean piece, and here you see this vertices so close to this line. If I take it and try to remove it a bit. Now the shading gets a little bit better. But as I said, No problem later on, we could go and try to solve a lot of these issues. And by adding the weight, the normal, and set it to keep sharpen, it will remove a lot of them in the viewport. So it looks like I can take this one and drag it out. And moving some vertices, we could make that a little bit better. One way to fix that is by taking the Boolean piece and trying to move in some vertices. Let's see what happens. So now, let's take these vertices. Now. It should look alright after some changes. Okay? Now it's a lot better, but it's capturing the details as well. Let's take a look. This is what we got here. So as I said, you shouldn't care too much about these details. All of them are gonna be fixed later on. Now let's add a bit of more curvature to this Boolean piece. So let's take this go in, and I'm going to take this edge and try to Boolean that a bit more. So that becomes a little bit better. Now, I'm actually liking the design. It has a smooth curvature and it falls off here and two sharp curvature in the end. I might go as well. Let me go in and try to take this and try to make this curvature to follow the same. Now actually this one is a lot better when you go see the changes, do some changes and see one of them that is better to your liking and keep it. Okay, now I feel like this is enough for this lesson. Now having a take a look at these details, or soda or LED screens that we created are on the roof. Basically, we do not have a place to place this handles. So on the next one, we're gonna go refine the details even more and try to bring this panel cuts in here. So see you in the next one. 10. Adding Knob Panels: Okay, Now, this is where we left off in previous lesson. And we found out that we need to create this handle pieces and the LED screens that we created are so far up in the design. So let's go back. And I'm going to take whatever we have here, these panel lines, everything in this Boolean pieces and drag them down. So including these. So let's keep this one B, or let's take it and drag it down. And you see how powerful this workflow is whenever you do not like something, you can easily go and try to swap it and change it without actually getting a problem. And this makes the iteration a lot faster. So highly recommend you to work non-destructive. And that is gonna be so better for the workflow. Let's de-select this and try to drag these down. Okay, It looks like there's one more. Okay. Now you see you're changing the design for free without actually having a problem. Now, looks like this is a lot better. Now we could go and try to make that panel cuts in the top. And this wouldn't have been possible using the destructive workflows. So now let's go in. It looks like we need to do some changes. I'm taking this and let's take it, bring it up. And this one as well. Let's take this panel cuts. Now. This is a lot better and we have the room to make the top cut in here. So for the panel cut, actually like this design in here, we have this one as well. I like the cuts in here. But the overall thing is going to be something like this. We're going to have this piece cut in there. Let's go and try to create. So I'm going to add a cube again. So this is good. I'm going to align it exactly to the center. So controlling a, excuse me, take these two pieces, Alton a. Now it's exactly in the center. And take this one only and rotate it 90 degrees and drag it back. So now this is exactly in the center of this piece. And you see that it's correct. Let's go take this one, bring it up. Now apply the rotation and scale. So let's bring everything back. Now, I'm going to take this control minus to cut this piece. So in order to change the changes, I'm going to take this one. Let's take this and drag it back. In order to make that more similar to the piece that we have, I'm going to make these clothes. To make such a piece. Now it looks like we could go and try to cut this one even further. And you see now it's not cutting through all the way to the end. So that is because we have not yet aligned this Boolean to that pieces. So again, let me take this piece and drag it back. And then I'm going to take it and this one, Control Minus, again, take this and the next piece and Control minus k. Now you see this piece we have. Now it's live. And it's doing the changes on these pieces, which is perfect. So now let's try to take a look at it. It looks like we could take this and try to drag it a bit to the left and take these edges and try to bubble them. Like so to add a little bit of curvature. Again, let me make this a smooth and based on 30 degrees. So now again, let's go in here. And after that, we're going to bring in the modifier to fix the issues. Of course, there's some issue in here which isn't a problem. Later on, we will solve it by setting to keep sharp. It's going to do the same thing. So now let's do the same thing on this one, weighted normals and keep sharp. Now, it's not solving the issues. Let's see what the problem is. So let's isolated with this piece. If the problem persists, it can go back and take the Boolean piece. And for temporarily, I'm going to add some loop cuts in here to make the shading a little bit better. So now you see the shading is a lot better. There's no problem. So we can go in here and again, activate this. And this is going to solve the issues. So if sometimes you see some problems there is because of the bad shading that is happening there or the lack of loop cuts. So let's take this one. Bring it a bit. So here to solve the issues. Okay, it's fine. And for bike pieces, we do not really need to do anything. So now you said this has been limited and we have this handle that has been cut exactly through the piece. And we're going to create that. And now we're going to introduce the concept of bullying the bullied. And by that I mean, we're going to take the Boolean piece and try to cut it off to make extra piece in there. So why? And what I mean by that, Let's open up a new scene and we're going to explain it. Let's name this one to host. And then we're going to create a new piece. Let's bring in an exact cube, and let's just call this one book. This is gonna be the Boolean piece, and let's remove that here and do a Boolean piece like this one. Now, you see that it has been cut off. You already know the details. And everywhere that we have solid geometry on this, it's going to cut off on this part. So what if we go and try to cut something into this Boolean piece? Because if we hit F3 and go in the solid mode, basically you see that this is real geometry and this is the Boolean piece. And now if I create a new cube, and let's call this one pool, the pool. And try to something into this piece. So I'm going to take this and take this one Control minus. And now you see the main boolean piece that we had is now having this cut in here. So these plays is not getting or is not cutting through the main object. So let's go back and try to take this, hide it. And now we see everywhere that we have that Boolean cut. It's not basically getting subtracted. It's adding volume to that. So again, let's go and do a demo. I'm going to bring in cylinder. Let's bring it here. Now. Let's resize it a bit. And I'm going to take this and this one as the host piece. So now I'm going to Control minus, looks like I've gone the wrong way. Let's take this one and this one as the active object. So now control minus. So here you see it's cutting the piece. Let's go apply the scale and bring it up. Now you see everywhere that the cylinder exists, we're not seeing anything on this piece because now you see we have the cylinder cut exactly on this cube. So this is the way that we can create really complex designs using just Boolean pieces. So back to the scene that we were, I'm now going to cut the panel exactly in here. So I'm doing that. I'm going to go create an cube in here. And now this cube is going to be cut exactly into this Boolean piece. So let's take this one and this one. Now, let's take here, resize it. I'm going to exactly do something like this, okay? Now, I'm going to do something. Let's apply the rotation and the scale. And I'm taking this and this one as the Boolean piece and control minus. So now you see this one has been cut off from the Boolean piece. Let's go back to the sea. And now you see this piece is back in action. And that is because we have taken this cube and subtract it on this one, resulting everything to come back. So I'm going to take this cube and drag it up, something like this so that it creates this handle in here. It's like we could go exactly in the center and try to bring this. Okay, let me see if I liked the design or not. Looks like this one is better. And if I drag it back so that it's only on the sensor part, it's going to be a lot better. Now this is about the handle as well. And I'm happy with it. And in order to make it a bit more good or better in the shading, I'm going to go on here at some vertices to make the shading are right. And why the normals to solve the shading issues. Ok, now in here you see using the Boolean or Boolean double, we are able to create something like this. And now this actually happens in the geometry. If I go and try to take this and add a bubble, e.g. you see now this one is exactly part of the same thing. It's inheriting the lines in here and it's creating a bubble line in here perfectly. Okay. Now let's remove it or we do not need it for now. This was only for creating the cut in here. Okay, now, let's take the cube and try to bring it in here. Now this is better. Okay? Looks like there's a shading issue in here. We could go take this one, bring it up. The bevel issue salts because the harder normal teacher or the actual double. So let's remove that or excuse me, minimize it, not removed. And there are some shading issues on this one as well. Let's take the Boolean and bring it up the bubble that we have. Okay, this is the bubble and this is the Boolean. Let's drag it up. Okay? The issue solved for now. So now it's enough for the handle. Now, let's do something more about the front panel in here. And now I'm going to curve the panels that circle panels for the knobs and sound controller in the front. Now, let's take a look at this reference and I'm really liking this in here, how the knobs volume controller has been placed. And this is the detail that later on, we're going to place this one as a texture to it using MSF channel. So we're going to create a round channel and we're going to paint this one into it in the Substance Painter. So a lot of these details are going to be added later on, like this one as well. E.g. we're going to carve these details and the text is going to be later on added inside Substance Painter. So some of the details are added in Blender, some of them ZBrush and some of them inside painter. This is distribution of a stages that we are going through different softwares and it enables us to do a lot of the detailing. So now I'm really liking this design in here. I'm going to bring in a circle and carb and insert circle in here for this piece. So now let's go in here and I'm going to bring the cylinder. Again. Let's bring it, and I'm holding down Alt. Now. Let's hold down Shift so that it becomes a full circle. If you do not hold down Shift, it's going to give you a lot of shapes, but holding down shift will give you a full circle. Now it looks like I did the wrong thing. Let's hold down shift and now let go off the mouse click. Okay, now drag out. So this is the detail that we're going to carve into it. But the first thing is that we're gonna go in, bring the overlays, all of them. Now, first things first, I'm going to make this one a smooth and the histone 30 degrees. So now let's take this and I'm going to do a rough sketch in here to see how these details are going to look like. So for that, I'm gonna go at double soda. You see how the details are gonna be captured. This is temporarily and I'm not going to use this one like this. I'm only going to sketch and see where we're going to place these details. So now this is one of them. Let's try it out just a bit. Now in order to make it parallel, parallel to this panel cut in here, I'm going to go on this one, Shift D to duplicate it. And now I'm going to remove the solidify and Bevel modifier because we do not need them. So now I'm going to take this one, delete, only liking this line in here. So let's go in polygon mode, I'm selecting that Control I to invert the selection and remove. Now Alton S to bring the pivot in the center. And now I'm going to bring this one as a guideline to see where we are going to place our panel lines. Now I'm going to extend this just a bit. Let me take this one and I'm going to extend this exactly in this direction. So the normal gizmo isn't going to help us anymore. So we're gonna go in here, hit Alt Control and q and go to local. Local is not going to help normal. The normal is going to help perfectly. So now let's drag this one in this direction and this one as well, and this direction. Perfect. The panel codes are all going to be on this line. And it's going to be parallel to this line, which makes it compositionally a little bit better than having something with no planning. Okay? Now let me take this one and I'm going to do something. Let me bring it here and bring it to here as well. Now, I'm going to go in and just add three segments. Let me take this and I'm going to hold down or double-tap G or triple tap G to bring one segment in here. And let's go out. I'm going to bring it some vertices so that I can snap them exactly two displays. And for that, I'm gonna go in here. It's like this one. Hit em and no, let's not collapse. Let's extrude it a bit on this one, because we have a new set of vertices. I'm going to hold down M. Collapse. Now we have our DC to work with on this one as well, e to extrude and right-click to bring it back to the same place and collapse. Okay, now we have a vertices to snap to that place. Exactly. And this is what we want. The reason that I'm selecting this and adding the vertices is that later on, I can take this one and step it exactly in the center of that line. Now, I'm going to take this courtesy and using a slight tool and bring it here. Now, there's the time for a snapping. Now we have the vertices in here. Let me just go and select this one and make it the pivot. Okay, now I'm going to go and activate the snap mode and set it to vertex and set it to active. And now just go. And this is now the center of that line. If I isolate this, you see now this is the vertices and this one is a snapping exactly to that vertices. And the reason that I added the vertices that I can flawlessly take this one and bring it to here and snap it can now you see it's exactly on the same line. It looks like we can go through some changes on here. It looks like we can go. And let me say this line. It looks like we could slide it a bit more and bring this one out on that vertices. Snap it. So now let's go back. Okay, Perfect. Now the lines are exactly in the same place. And now it's time to add the big circle in the middle. And by that I mean, this one that we are later on going to paint this texture onto. So now it's easy. I'm going to shift the bring it here. Looks like we need to add a vertice in here. So I'm going to hit X to remove that vertices and take this one at a vertice in the middle. And the great thing is that it knows the distances and all of them are going to be placed exactly compositionally, right? Okay, Now I'm going to scale this, but I'm not going to scale this like this one in all of the directions. I'm only going to scale along. Let me go in global because now the gizmos are in local mode and they're not white in order to get the perfect lungs Control Alt Q, if you have this shortcut setup according to the intro chapter that we did, and I'm going to set that to global. So now I'm going to scale that along Z and X. So we do not need to scale that along y. So I'm going to hit Scale and now Shift Y. And this is now going to excuse me, scale and then shift and why? Now this is normal. Let's go back again to global. I don't know why he went to normal. So now again, scale and now shift and y. Now we get the perfect scale alongside Z and X and not the why. But there's something in here that is wrong. And that is because the scale in x and y have been changed and not z. And that is because I believe we have not done yet applied the rotation. So this one, I'm going to apply control a. Just look at these values and here they are, -90 -90. Apply the rotation and now they become zeroed out. And it means that they are right. Now again, I'm going to go hit Scale and then shift and why increase the scale? And now we see this scale has been changed on x and z and not y. So if you're going to include or exclude a certain vector from the scaling, you can hit that vector with shift to exclude that. E.g. in here who didn't want to scale that along y. So I hit Scale and then shift and why to exclude the Y from scaling. Okay, Now this is perfect, but this circle looks like it's a little bit bigger than what I wanted. Or these two circles are bigger. Let's go and we scale this. Okay, now, I'm not going to rescale them in such a manner because it's going to scale them both based on this pivot in here. So in order to prevent that from there, I'm gonna go bring the transform pi and instead of median point, I'm going to hit individual origins. So now everything I do on this is going to be applied on them individually. Like so. Now, this one could get scaled a bit more. Okay, Now let's take a look at it. And as one could now go in, That's the activator snap mode. Then I can remove the bubble from them perfectly without any problem. Now these are going to be the panels that we're going to cut in here. And now let's take this one, apply the rotation and scale. On this one as well. I'm going to apply the rotation and the scale. And on this one as well. Let's apply the rotation and scale. It looks like we have a panel that we could cut in here to add more secondary details just like this panel in here. So now let's go in here at solidify modifier to make that a bit more detailed, offset is going to be zero, excuse me. And one centimeters is too much. Let's go for 0.1, which is a good cut. Okay, now I'm going to take this one and isolated with this. And the next thing is taking this one f three, and take this host object Control minus to cut this one in. So let's take this one. I'm bringing it up the way that normals so that the normals get calculated for the time being. Okay, now we have this panel cut and that is perfect, but this is extruding too much. Let's go for the Boolean piece, which is this one. Then I'm gonna go in, take this one and bring it back alongside its normals. It looks like you could do some more changes. Let's take this and bring it to here. This one. Let's leave it be it's extruding outwards and there's no problem with it. Now, I'm liking this design and I'm liking this parallel line. It's a great detail. And it looks like there's something wrong in here. Let's go back and see what it is. Okay, it looks like until here. Let's drag it back. Doesn't matter at all. And then I'm gonna take this one. And in order to add more details to that, I'm going to bring in a Bevel modifier, excuse me, not a Boolean. Let's add a bubble. And this bubble is going to make these details a bit rounder and they get captured better inside the normal map. You see this is with the bevel and this is without bevel. See very sharp. And this adds a bit of roundness to it, making the details a bit captured better inside normal map. So this is the comparison with and without. Of course, not so much, but it's going to be worth it added. So again in here are the normals and perfect. So now the next thing is cutting these lines are occurring, these circles and the detail. So now I'm going to take this cylinder and take the front panel control minus a. It looks like, again, I need to bring this one up. The weighted normals. Always let the way the normals to be the latest one so that it calculates the normals a lot better. Okay, Now, let's hit F three on this to see what is going on there. Let's drag it out a bit. Okay. Now, I'm gonna select this line and add Bevel, hit a three. There are some shading issues that we could solve easily. By pushing this one far away. Are able to solve the issues. Okay, I'm happy with it. Now let's go. We're going to learn a new trick. So now I'm going to hit again a three. And then we're going to do a reverse bubble, just like always that we did. So I'm going to take this remove. And now we have this one that we could cut into the details. So let's go see what happens in here. I'm going to hit Shift and N to recalculate the normals, and then again hit B to make it cut off into the object. So again, I'm going to manually drag this one in, hit F3 to see what happens there. This is perfect. A bit of reverse beveling to add more details. And then again, instead of doing the same thing over and over again, we could go in and edit mode. Let me take the Boolean piece. In the edit mode, I'm going to take this all of them and hit Shift D. Okay? And now I'm going to bring this exactly two here. So again, we need to go and set it to snap two vertices. Exactly two here. We're going to rescale this. So let me delete this one out, this one out as well. So again, let me take this and move it so that it snaps to that vertices that we had in mind. Okay, in here. So let's bring it in like so. Then remove the snap. And again, we need to re-scale this alongside x and z. So again, let's go to global scale shift and why? To scale it alongside X and Z, I need to select the whole thing, altering G to select all of it. Then scale shift and why, excuse me, to cut the place for that piece. So now let's see what we have done in here. Perfect. And I said, Do not worry for the shading in here. It's all gonna be solved later on. Because we're doing that in the edit mode. All of the modifiers that we have applied on this and all of the details are gonna be captured because this is a Boolean piece and everything that we add to this is gonna be applied to the geometry. Again, I'm selecting this Alton G to select all of it. The default shortcut for selecting all of it was controlling L to select the linked, but we changed it to Alton Zhe. Okay, let me bring this in here. We need to turn on Snap mode. Exactly. Line it up in here and just a bit of movement to bring that in here. Now, these panel codes in here are perfect. And I'm really liking the design. And one way to fix some of the shading issues would be to go in and mark some of the edges to be sharp. So let me take this one. We want this inner edge to be sharp. So let's go and take this edge. Right-click and more sharp. This is going to mark that edge as sharp. Now you see we have some more detail on this one. If this is something that you want to do, you can go and do whatever you want to do with it. So it looks like on this one, let me see. Or on this outer edge in here. Whatever edge that you like, you can go ahead and make a chart to make it more detailed. So now let's go again here and I'm going to bring another, yet another cylinder. And this one is going to be placed for the knobs. And let's just place it here. Exactly in the center scale shift and why? Okay. One for this, 1.1, for this one. Now there's nothing actually visible in here. And that is because we need to go make them smooth based on 30 degrees and apply the rotation and scale on both of them because they have been rotated as well as the scales. So now let's add a small bevel on this. Just a small bit like 0.2, 0.1 is better and add one more and make harder normals to make it look like it's actually having details. So now I'm going to add the same bubble on this piece. Instead of going and adding that dude, that manually, I'm going to copy the modifier from this piece to this one. So I'm going to take this one that I want the modifiers to be copied on. The one that has the modifier on the last object, which is the active object control an L. Now, copy modifiers. Now the same thing applied on this one, which is perfect. So now that I'm looking at this one, we're going a good direction. Of course, I can add one in the middle of this one as well. Let's bring it to here. And I can apply Snap vertices. Snap exactly to the center line. Just a bit to the right. Okay, Perfect. Now let me turn this off and drag it in. Then this is now for only the visualizing purposes. Later on, we will come back and add more details to this piece. Now, I'm happy with it. And let's call this lesson done. In the next one, we will come back and try to add more details to the front panel. Okay. See you there. 11. Adding Secondary Details: Okay, This is where we left in previous lesson, and now it's time to go and add more details. And one thing that I noticed is that I can copy this panel line, this radial speaker line on the bottom part as well. So by that I mean, let me hit Shift and right-click to paste that in the same place. And now if I move it, it's not going to give me the result that I want, because this is now a Boolean piece and it's alive if you want to change something about it. But now I'm going to hold down control an a on the modifier to remove that. Now, I'm going to bring that exactly in here on this side and rotated 180 degrees to bring that in here. Now, it's not showing up because Let me see what has happened. Oh, these ones are too much in the surface because of this piece. So now I'm gonna go, let me take this piece, which is the Boolean piece. And I'm going to shift the copy that hundred and 80 degrees and bring that exactly here. Now, I'm going to cut again using the space control and minus. And now you see it has revealed these pieces that are there. So now let's bring it up again or bring the weather normals modifiers to recalculate the normals for us. Then it's time to take the Boolean and try to move it a good place. Now, let's take these and bring them to the place, roughly about the place that they were. Okay, now, I'm actually liking the idea of this double radio that we added. And totally, I'm happy with the idea. So now it's time to go and add details to these bonds. And the reference that I have for this is this one. You see these panel cuts, all of these cuts in place. And I'm going to add them. So now before that, let's bring all of them on. I'm going to take these vertices, hit, Insert, drag it back, scale it a bit, drag it up. Like so. Again, another insert, drag it out. And then again insert, bring the vertices out and collapse. Or that's not collapse. I do not want that to be sharp. Let's just try to re-scale that or hit an insert. Rescale that. Okay, Like so. Now let's go back in here. Right away. You see that we have way, way more detail this piece and that is going to be duplicated to this side. But first, we need to go and take care of this piece. So now I'm going to bring in the cylinder and holding down shift, drag out. Okay, now we need to rotate it in the right directions. So on this one, negative 90 degrees. Okay, Perfect. Now on this one in this side, we do not want any rotation. Smooth based on 30 degrees. And I'm going to drag it in just a bit more. And again, let me take this, this is this one. A bit of it will be a good idea to put the pivot in the center. And on this one it's already in the center as well. And now, based on the shortcuts that we did on the intersection, I'm going to take this one and this one and then control, excuse me, Alton a. Okay. I'm not going to actually use rotation. Now this one is exactly in the center. And now let's take this. And it looks like we are on a good place to go. And we're ready to do the Boolean piece. Okay, I'm selecting this one. Before doing the Boolean. Let's resize this a bit so that it's much more manageable. And now I'm going to cut this line exactly in half. And on this one as well. Let's take this and this. Okay, now we have this one, control and B to add a bevel. And I'm going to take this side, drag it down, like so. And now let's Control minus to do the Boolean. And doesn't matter for the shading. We're going to make that alright. Later on. Okay, now this is the active object. I can drag it up and use it to wherever I want that to be. Okay, now let's compare that to the size of the actual radio. And it looks like it's a good piece. Okay, now I'm going to take this one and this one, because the pivot is in here, I'm going to copy this one on a radial manner around this piece. So there's a little bit of setup. There are some add-ons that do this, but we're gonna do that in vanilla Oberlander. I'm going to take this one and it has the pivot exactly in the center. I'm going to hit Shift and S. And now I'm going to bring the origin point to the selected. Again, our pivot is in here exactly. Now, let me take this one and I'm going to select this around the pivot. But if I now try to rotate as you see, it's not doing what we want it to be. So we need to offset the pivot exactly two here so that we could rotate that around the subject. So now let's hit Alt Control and Q to bring the Transform menu. And now it's going to be the pivot point. Now is individual origins. We need to set that to 3D cursor. Okay, now we've got it. I'm going to Shift D and then duplicate. Maybe based on 90 degrees. Okay. Now let's take them all. Shift D again based on hundred and 80 degrees. Okay, now because the pivot is in here, it's going to revolve around the pivot with no problem. Okay. Now, again, another one. This time. Looks like they got the piece done using the radial symmetry. It looks like that is too much. I'm not actually liking the amount of circles that we have carved in, in here. I'm going to Control Z. Okay? Looks like this one is much more manageable. And I'm liking this one a lot better. So now I'm going to copy this one in here. Let's take this, remove it. Take this one and the Boolean piece shift D, because these needs to move alongside each other. And I'm bringing that to here. And make sure that you copy the object under Boolean piece at the same time. Now, let's rotate. So you need to bring the rotate instead of the 3D cursor to the individual origin and make this month active object. Let's make it bounding box center instead of that. Now, let's make it active element so that this object is now the active using the bright orange. And let's rotate that just a bit. Now. More detailing in the piece. For this central piece, what we could do is mimicking this design in here. And because we are using a lot of round shapes in here, I'm going to make this one kind of sharp so that that's a bit more different. So let's bring everything back. I'm going to extrude right-click to pay studying the center and we scale that or okay, now it looks like a bit sharper. But I need to do one thing that is adding a loop cut in here and try to raise this one a bit. But this is too much. So this one is okay. But I need to do something more and sharp this one a bit more. The key is to go in here, and instead of using 30 degrees, let's use 20 or ten. Okay, ten looks like a better value, but it's not giving us the result in here. So let's go back to the same degree and bring everything back. I'm just going to take this edge in here, take this edge loop, right-click and mark sharp. Okay, now let's take a look at it and decrease the bevel a bit. It looks like now this is a good value, okay? Now this looks much, much sharper than what we had before. And then again, I'm going to take this and let's bring it up like so. And then again, insert and insert. Bring this back to create that bubble piece. And take this edge and do a small bevel. Okay, it looks like now this is a lot better. And if I compare that to the piece that we have here, It's very good. And all of the details on this one later on is going to be done using Substance Painter. And let's see how far it goes. Okay, it's very good. Now it's time to go and add a smaller details. And this is the way that it goes. We first start with the big shapes, the things that really define the shape. E.g. if I take this one and go in here, see now, everything in here is based on this cube that we scaled and are changing. And now you see later on, we went ahead and added smaller details and smaller and smaller until the point that we are going to very, very small points. And this is the way to create 3D prompts. You start with beak shapes and then start to add a smaller details later on. So now let's take a look at the reference. And I'm going to go for such details. And you're already familiar with these ones because we have done them in the intro chapter. So that's not gonna be an issue. Okay? Now, let's try to smooth this based on 30 degrees and push this a little bit to the surface. Like so. Now I'm going to cut this 1.5 Control and J. And this one again, Control and J. So that we have a loop that goes all across. And then I'm going to Control B to add a bubble. Okay? Now let's go back to see what we're gonna do. I'm gonna take this and drag it out. Okay? Now right away, I'm going to take this one, does control minus. So let's go bring the weighted normal modifier down the list to recalculate the normals. Looks like there are some shading issues in here. So no problem. I can go take this one and let's add vertices, an edge loop, excuse me, and bring it to here. Okay, move it so that they could change the shading a bit with it. Like so. Now let me bring them on. And then I'm going to take this, this, and this one and bring them back again to add that reverse bubble Shift and be, excuse me, Shift and N to recalculate the normals. And then take this edge, loop it all the way through by holding down Alt and Shift. Okay, and now looks like we are good to go Control V. And it's not doing the same thing that I want from it. Let's see what's wrong with it. Just control Z couple of times to go back. And I'm going to remove these vertical lines in here. They are causing the problems, okay? No problem. We can do that later on. So again, Control V. Now this time it's doing the job without any problem. So now let's drag it out. So now this time we could go in and try to add those vertices to make the shading a little bit better. Like so. And let's do the same thing on this side. This one helps a little bit more with the shading and the look of the shading. So it looks like this one is too big because I'm going to copy that a couple of times. So now let's rescale that. Okay, like so. And drag it in. Now, I'm going to use the array modifier, and this time it's gonna be along z to copy that sometimes because you see this is the design and we have it in some places in couple of pieces. In order to add the array modifier, first, we need to apply the rotation and the scale. Because you see now the rotation and scale has been manipulated because we did some changes to that. So control a rotation and control a scale. Okay, perfect. Now let's add another vertices. Make the shading even better. And I'm happy after we added the vertices on the bubble. Okay, After this one, I'm going to bring in the array modifier. So now the array is going to the wrong direction. I'm actually liking this. And I'll call this one the happy accident. I wanted to copy that alongside z, but alongside eks, it creates a good result as well. So now let me do something. I'm going to bring in an array modifier. And this time alongside eks snow, it's going to be alongside see one, no negative z, like so. And let's try to increase the distance a bit. And maybe a couple of times. Now, one time is okay. Okay, now you see this one is a lot better. We have a panel to add those buttons, and then we have another panel to add those extra burdens that we have placed here. Okay, that is going to be perfect. And the things like this one happened a lot during the production. You do something and you liked the design and keep it. So now we have done this, and now it's time to go and add the buttons. And the button placement is very easy because this one is only a circle with a little bit of curvature to it. So let's bring that holding down Shift. It's going to be so easy. Let's push that in control to apply the rotation and scale smooth based on 30 degrees. Now I'm going to add a bevel to make that readable on distances and make it very small, small bubble. 0.1, 0.05 is okay. Now, let's do the same thing. I'm going to array modifier this one, the exact same values on this one. So now let's add an array modifier. It's going to be along negative Z. Let's disable that. Negative one. This is relative. We need to add a relative amount. Okay? This is good. Now another, okay. This is good. We added the buttons, and now we need to add some buttons in here. And let's already add a bit of design. That is, let's bring it. It's like this circle for this space in here. And push that out a bit. Like so. This is good. Then I'm happy with it. I do not want to detail this one even more. And the next one is adding the buttons for this area in here. Okay? Now let's do the same thing. I'm going to bring in the circle, excuse me, the cylinder hold down Shift to make it a full circle. Looks like this one is a good value. Okay, Now, I'm gonna go cut this one and this one, n j, and this one to this one. Again, Jay. Level to separate them from each other. And now it's time to go back and try to push this to the left to fill the button space. Okay, perfect. Alton S to bring the pivot exactly to the center. And apply this smooth and based on 30 degrees. And again, I'm going to take this control L copy modifiers. It's copying the bubble perfectly, but it's not copying the direction, although it's going in z. But it says that in here, we need to apply the rotation to get the modifier to work properly, but we need to manipulate its values a bit more. Let me see that. Like steak, we could manipulate data bit more. This is a lot better. Now let me take this one, go in edit mode. And I'm going to take this edge only and push that in a bit because this is what I'm seeing on the references. You see, this reference, you see it has a slight curvature. On the flat surface. It's not completely flat. It has some curvature to it. Okay, Now this is perfect. Looks like you could go and take this one, make it a bit smaller so that we could see what is going on behind it. Now we need to offset this one a bit more to place that in roughly. Okay, perfect. Now we have three brown buttons and three cylindrical buttons in here, which is perfect. And we're getting to the point that we're adding smaller and smaller details to finish this one off and then gradually move on to middle and back part as well. Now it's time to add some secondary details around this cylindrical piece in here. So I'm taking the design based on the SEC. It carves into the surface and it's mainly texture based later on inside substance, we will take care. This detail in, so I'm going to add that and make it round peas that goes around that cylindrical piece. Now this time, instead of creating new geometry, I'm going to borrow that from this shift D. Again, isolate that and remove the bevel modifier because we do not need it. Now, let me take this one Control Plus to select everything and hit X to delete them. Now, right-click and N to create a new phase. Okay, perfect. Now let's go back again. And this is the details that we could carve in here. Let's go scale here to y so that we could scale is based on the details in here. It looks like it's good in here. And I'm going to take it and I'm gonna do something to radial symmetry around this piece. So now, you know the rule. We're going to offset the pivot exactly to the center of this so that we could use that as a copy point to copy this one alongside a radial array. Okay, I'm taking this Shift and S, bring the pivot to the selected. Now I'm taking this, now, the pivot is in here. And in order to make that right, we need to go in here in the period pivot section, and we need to set the pivot to the 3D cursor. So now I'm taking this. If I tried to scale that, you see it revolves. If I try to rotate that you see it revolves around the same piece. Now, I'm going to go and try to cut this part. And let's first do some changes to that. Bring that in here. Bring that out a bit. Then I'm going to first do some detailing on that. Let's bring the pivot to the bounding box. Alton S to bring the pivot in here. Then excuse me, I'm going to apply this scale and rotation. And then do the reverse bubbling Shift and N to recalculate the normals Control V. Okay, Perfect. Now, if I take this and try to rotate it around this center line in here, I'm going to pivot menu and study to 3D cursor, which we have set to be in here. So now let's shift the right-click to paste that in place. And one in here. Shift D, and one in here. Okay, perfect. Now I'm going to take this one, this one, this one, and Control J to join them together so that they are only one piece. Now apply the rotation and scale. And then I'm going to take them as the Boolean piece to cut off on this part using control and minus and then drag it down. Drag the weighted normal modifier to recalculate the normals. When they need to go in a bid. To get calculated. Let's try to take them and move them a bit and why soda? We could see them on the surface. Okay, Perfect. Let's take a look at it and it's okay. Now let's see what we could do about this. I'm gonna go in, take this one, Shift T to bring that to see what happens if we cut this line in here. Actually, I'm liking this designer. So let's go take this. And I'm going to take this vertices, make it bounding box center. And instead of global, we're going for normal. So this is going to be only from this point all the way to another. Okay, Then let's take this Boolean piece, which is this one. And instead of leaving that in here, I'm going to take it and bring it to the slide. Exactly to the center of that line. Then it's time to take this and drag it out. I do not want this one to be extended all the way to the end, only to this part. Let's bring that. Take this one as well. Okay. Looks like just a bit of more detailing needed. Okay. It's good in here. And in here as well. I'm going to take this one, this one, this one, and drag them in. Before that, let's remove these to make it a bit easier on us. Then take the vertices. Move that in, just like so. Okay, perfect. Now let's take a look at it. And now again, we are insisting on that diagonal line that goes all across. In here. You see there are a lot of diagonal lines. One is in here, One is in here, this one, this one, and this one that makes the design cooler. Now, I just took a look at the references and I found that the cylindrical piece in here is a very good idea to add soap. Let's go and start a created. First thing, we're gonna go and create a cylinder this time, let's go bring in a normal cylinder and we're going to bring that to here. So shift and a. And then we're gonna go bring in a cylinder. And let's scale that 2.1. Like so. Now I'm going to bring that in here and I'm going to make it just the same scale as this one is. So let's just take a look. I'm going to roughly eyeball that to get the design perfect. Or I could really make this one a little bit bigger like so. We're going to fix this later on. For now, let's just rough out the shape and scale to see what we get. Now, it's time to go and scale that in Z. Okay, perfect. I do not want that to collide with this piece that we created. So let's bring that back. And now I'm going to make it smooth and based on 30 degrees. So right away, let me take it. And using this one Control minus. And we should bring this one above the white-eyed normal modifier to get the normal calculator. Alright, so now I'm going to take this and I'm going to bring the geometry. Beck is saying here we have the real geometry. In order to bring the geometry bag, I'm going to take the Boolean piece and add a solidify modifier. Okay, now like so you see, we get this cylindrical panel cut in here. Perfect. So let's make this 10 and start to play with the scale to see what we get. Now looks like a scale of one is okay to get a perfect panel cut. And in order to make that more detail, I'm going to add a bubble like so. And I do not want it to be so much. So let's take a look at it. The shading issue, I believe, is that it's colliding with the geometry of it. So let's just drag it out. Like so, so that the shading is much more manageable. Now let's go back and try to take a look at it from this view and it adds a cool detail in here. Then as I said, you shouldn't really care about these issues that you are seeing in here. We're going to fix them all later. Okay, Now there are some shading issues. Let's go see if we could clear them. It's okay. But if it couldn't, it's gonna be alright because the workflow requires such a thing. So now the first thing is, let's go and select a Boolean piece. And it looks like that We didn't we scale the scale. Basically, we need to go and apply the scale so that the bubble and anything that we have here works on controlling a. Let's apply the scale. Now. Let's see, see, the real level is kicking in. Okay, Now let's go and set it to 0.1. Let's see. Before that, we need to bring a lot of the geometry back on the solidify modifier as well. We need to go set it to 0.1. Okay, Now this is a better panel coats. We have a better panel codes in here. And now let's go for the pebble and let's add some more extra segments. And then shading, that's too hard. A normal doesn't matter. But overall, this is a better representation of what we're gonna do later on. It looks like better for now. And now it's time to go and create these bolts. It's going to be easy. We've done that before. We're going to play some bolts around this to create the illusion that this has been manufactured and as a bit of a storytelling. Okay, now let's go in here and create a cylinder, right about this size hold Shift, so that it becomes a perfect cylinder. Okay? Now, I'm happy with this. Let's drag it in and then take this one as the host PC Control minus to do the Boolean. So right away, we need to go take this or take this one, take the host piece, and bring the way that normal modifier down the list. Now the shading gets a little bit better. Now we need to do something for the geometry. First. I do not want it to be too progressive. Let's drag it out because later on we do not need to take so much normal inflammation. So Control Z again. And now let's see. It's a very good one. This time even without going for reverse beveling, by only beveling this one so far, we were able to create such an effect, which is a good one. So now there's one thing that we need to do and that is copying this one over n instead of copying that because this is going to be symmetrical piece, I'm going to use the mirror modifier with it. So if I go and mirror that so much, it's going to be colliding with these speaker lines, which I do not want. So let's take it and drag it back a little bit. Like so. And now I'm going to bring in a mirror modifier. So it's here. And now we need to take this object as the mirror modifier to the front panel off the radio because we have this pivot point in here, exactly in the center. And if it's not in the center, you can hit Alt and S to center this one out. So now let's take this. And in here I'm going to, for the meter object, I'm going to select the radio so that it mirrors it exactly in this direction. In x is perfect. And now let's see. I believe that we should do that in z as well. Let's go to global. You see this blue represents the Z. Okay, now, let's go for Z. Now. Perfect. Let's take a look. Now. It's a very good one and I'm happy with it. And for adding the bolt, we do not need to do anything. You only need to go and bringing the bolt. It's an add-on bolt factory. Then shift on a and in here, there should be a bolt. But since it's gonna be a very, very simple thing, we're not going to put too much time in it. We only need to bake this one on the normal man. So bolt. Let's see what design. Like this one is a good one, a very simple bolts, and I do not want it to make it so complicated. So let's zoom. And this one needs to be very, very small. And let's rotate this one along x by 90 degrees and just place it in here. Roughly, it's going to be placed in here. We're going to bring that in the surface. Like so. Now let me just apply the rotation and the scale. And now I'm going to symmetry that. But in order to make that faster, I'm going to take this and take this one that has the modifier, that has the mirror modifier Control L to copy the modifiers from that. And now it's everywhere that we have that this bolt has been copied out over as well. Okay, like so. Adding these small details will really improve the design. A lot more. Big details are important, but medium and small details are important as well. Just imagine this radio without having this amount of details, it wouldn't make sense. And it wouldn't be so much of a good design if you do not add. Now I'm thinking about cutting this part to make a sharp corner because all of the corners around, and it's a good idea if we could go and create a sharp corner to do something opposite of that. So let me go bring in a cube and scale that by 0.1. Okay? Now I'm going to rotate that, excuse me, 45 degrees. Okay. Now, let's just make it way, way smaller because I do not want that to be so huge, only something like this, so that it's much more manageable. Apply the rotation and the scale. And then I'm going to take this and the host piece control minus. Okay, now we'll see it creates this part in here, which I'm actually happy with. We can go take this one. And since it's non-destructive, we can go and do whatever we want to do with it. And I'm going to push that until here. Okay, perfect. Now let's do something. I'm going to take this one and scale that even more to make it cut off these pieces as well. So this one, Control minus to this one as well. Control minus x, like you need to do this one and this one then Control minus because that one was symmetry, excuse me, Boolean in this one, in that way as well. So let's just take a look and see if you like the designer. I'm actually liking that. But it would be a good idea to bring some of that information back. Now we're gonna go and do a bull, basically bull the bull to cut some of that. Okay, Now I'm going to take this one and duplicate it and cut it from itself. That is gonna be so easy. So let's go make it based on normal snow. It globally is alright, shift and D, Okay, now I'm going to make it a smaller. Now let's drag it in here. I'm going to bring some of that information back. Now that I'm taking this, I'm going to subtract these from each other, basically subtracting this orange from the main piece. So take it Control minus, and this will bring the rest of the piece back. Now, it looks like we could take this one and drag it out. I'm feeling like this is adding a good design into this. Now I'm going to take this one. Let me take it. And I'm going to go into edit mode because this one, if we go into edit mode, who take the geometry and we have the ability to manipulate it. And because this is getting Booleans, again, that's gonna be very easy if you could do new design. So I'm going to hit Shift D and drag it in here. Now you say because we are in edit mode, everything that we do is going to be live in there because the space is already Boolean out. So again, another shift D. Let's remove it and I'm going to bring one in here as well. Okay? Now, let me take a look. And actually I'm not liking this empty space in here. In order to fix that, I'm going to take this one, alt and G to select everything. And then I'm going to scale that alongside Y to bring the rest of the geometry back. Like so. Let's just move it out of the way. Let's I'm just trying to make it as close as possible to these lines. So let's take this one. And we could go for a vertex, snap. So let's activate it. Vertex this map and set it to active. Now I'm dragging this one out. And let's hold down Control so that when we see a vertex, it snaps to it perfectly. Let's activate. Because this is vertex we need to go and snap it perfectly to this one. Okay? Now, in order to bring that back, we need to add a bit of distancing but in-between them. Okay, let's drag it out just a bit. And because we added a bit of distancing, it's working. Alright. Now we need to take this one and move it in y. Very, very slightly. Now let's turn off the snap mode and add a bit of distancing to make a cut in here. Okay, perfect. Now let's do something. I really do not like these cuts that we have added in the middle. Now because the workflow is so destructive, we can go back and take this Boolean piece that we have cutoff. Now, if I turn off this Boolean, let me turn it off. Now. It's not really getting affected by that cuts that we did. And everywhere that we move this, it's not going to matter actually. Let me delete those. And now instead of copying that so much, I'm going to re-scale it and bring a lot of that back and have it only on this area. Okay. So now let me take this one and drag it back until this part. Now I'm going to do a mirror on this side to cut off that part as well. Because I want to keep this part in the middle. Okay, now, let's add a mirror modifier. Let me take this one and turn off the Boolean because we do not need the boolean on this. And now we need to go for a mirror modifier. It's gonna be a long why the screen? Let's set the Boolean piece to be the main object. Let's make the y. In order to make that, on that side, we need to copy this one. And let's hit okay, now it's not working for. Now. Let's select this main piece, this middle piece instead of that one. Okay, it copied out, but we need to apply the modifier and manually do the rest of the thing. So now let's take this, bring it out to cut off this part in. Now, I'm actually liking this design even more. So now, in order to make the shading right, I'm taking the host piece, which is the center one. Let's go in here and bring the weight at normal modifier down the list to recalculate the normals. Okay, perfect. Let's do another Treasury detail on this. Again, I'm bringing this cylinder, I'm going to cut the cylinder all the way to the side. Let's bring that here. Then I'm taking, I'm taking this one Control minus, okay, perfect. Of course, in order to cut that all the way, who need to take this one and select these other pieces as well. Because these are different pieces and need to get the Boolean applied differently. Now, let's take a look and we see a cut through here, which is perfect. Now, another thing, let me take this one. I'm going to do a reverse Boolean again, reverse pebble, excuse me. Let's bring that as close as possible to the center line in here. Like so. And another one in here. This should go close to the surface. And because we are using the Boolean, it's getting a bit slow, but it's not actually a problem. So now Shift and N on this one to recalculate the normals. And on this side as well, we could go and let's drag it out just a bit. Shift and N to recalculate the normals. And then I'm taking this control B. Add a small bevel, make the edges showing a little bit more. But before that, let's go and apply the scale on this one, because without actually having the scale applied, it's not doing a good bevel. So let's do a bubble to see what that does. Control B. Now, it's not actually doing what we wanted. But if I go and apply the scale and go, try to bevel, this is doing perfectly what do you want it? Okay? Now this is a little bit too much and causing some artifacts in here which we do not want. Control Z couple of times. Control B, add the bubble. Just a tiny bit. Okay? And on this one, it's going to be easy. Let's bring that in and Control V. Okay, like so. And then I'm going to drag this one in so that it cuts this diagonal edge line in here. Okay, Now, I'm happy with this design and I could call this one finished, not this one, this lesson. But first. Now let's take this main piece in here and bring the way that normal modifier down the list to recalculate the normals. I believe it's enough for this lesson. We have added enough geometry and details. And the next one who will go and add more details, maybe go to other pieces as well. Okay, See you there. 12. Middle Pieces And Strap: Okay, everybody, now we got here and it's time to go and add more details. But before that, I really like to go and take this cylindrical piece that we have here. And I'm going to re-scale that along y and x. So to do that, I'm going to scale and then shift and z. That is going to exclude z from calculations so that we have only the Y and X in calculations. I feel like making this one a little bit smaller would give us a better result. Okay? Now this is a better result already. And I'm liking the result. It creates this panel in here, an extra panel right here. Let's go do one patch of detail on this side in here. And I've found out that based on this reference, if we have some details, some cuts in here, it would make a very good idea. Okay, We're gonna go here and grab a cylinder, hold down Shift, and then drag it out. Okay, Now the size is gonna be something like this. And we're not going to make it too far. Because later on this is gonna be deleted, unbaked only on the normal map. So it's gonna be a tiny piece applied as scale and rotation. And then I'm going to take this and drag it in. And let's hit Alt and S to bring the pivot in the center. And then take this one, Shift and N and recalculate our normals to make the Boolean, excuse me, the bevel like this. The Boolean and Bevel are similar, always mistake them. So now let's take this one and take the Host Control minus. Let's take a look at here. It's not so obvious, so we need to first go and make the weighted normal modifier down the list for a better render. And we need to push this one a little bit to capture those details. So you see that these details are floating in the air, resulting in no rendering at all. So we need to bring this one in just a bit. Like so, not too much. Okay. Now, it's perfect. Now that we're happy with this, we can go and even try to give more bevel to this. Let me go and take this face in here and just try to re-scale this. So that becomes a little bit more focused and insist on the details. Let me just drag that in. Not too much. Let's just bring this one up. And you should find a middle ground in there so that it renders a lot better. Now that we're taking a look. It's perfect. So now let's drag it. And a rotation and scale has been set to default by now. And we're gonna go and make an array modifier this time that is going to be in Z, and I believe that it should be negative z. So let's zero out. And this is gonna be one. So it's gonna be in negative x, negative one. This relative offset takes the relative size of the object and tries to array based on that distance. And now that this one has the size, when we put one, it's going to appear exactly after that. But if I try to make this one a smaller a bit, e.g. like so you see this one tries to appear always after the main one. But if you go e.g. to constant offset, let me go and make this 10. And we want that to be in x by negative two, e.g. negative two. This is negative two and it doesn't matter if I try to scale this one, make it whatever. Always the distance is gonna be two in-between them. This is the difference between the constant offset and Relative Offset. Negative one is to close. Let's go for one-and-a-half and it's okay. So now let's increase the numbers to see the result that we can get. I believe that eight will do. Okay, eight is enough. Let me just drag them up. Okay, this is the result that we get. And now let me go to here. And it looks like a good detail we have added here. So for now, I'm actually done adding the details to this front piece. For now, later on, who might add details to this one, but now it's time to go and work on this middle piece in here. Now let's see what we have here. Just to summarize what we have done in here, Let's go and activate and deactivate all of the modifiers to see what we have done. So this is the basic block that we started with. And then we went ahead and rounded these corners. And then we brought in this handle line to make a cut for the handle. Then we added a bevel to round out these extra corners. The way that modifier is to solve everything. And then a Boolean with a cube. Let me go to see where this one has been applied. Looks like nothing. And then this one at this punch in here, and it looks like this Boolean cube 012 is doing nothing. So let's go back. I believe that it was this cube in here. So let's go see. This one is cube 012, and it's not doing anything in here. It doesn't matter if I go and delete that. Okay, now, let me drag the two-headed more normal modifier down. Everything salt in here. Except for the fact that we need to go and do one thing in here. We need to apply that keep sharp to make everything sharp again. Okay, now got this and it's time to go on and add some side panel league. And I wonder I'm liking is this one in here. Before that, let's do paneling in here. It's going to be a good idea as well. I'm going to do something like this radio on this side. So now let's go and try to start here. I'm going to start with a cube. So the basic idea in here is going to be doing something like this. And we're going to use this Boolean part that let me show you is that this Boolean part is cutting this panel in here. And then whatever we did and whatever we made, we're going to cut that using that Boolean ports. But since this Boolean part is a bit out of the way in this side and this left side, I'm not going to make short Excuse me. I'm making sure that these pieces are not extruding so much about scale based on x. And let me drag it out, drag it up, apply the rotation and scale. And I'm going to add a simple Boolean, excuse me, simple level. A lot of times I just mistake these. So let's add a very small level. Like so. And now this one, I'm going to, now let's leave it be. And let's just drag this one in. And after this bevel, I'm adding an array modifier. It's going to be in negative z. Is it? This is the positive, positive z, which the pointer is directing. The other way is going to be the negative z. So let's go for negative one. Too much or too little. Now, let's go for negative two. This one looks better. Now let's see, I believe that we should go for maybe 25 instances now, 50 instances until here. And in order to cut them off, I need to do one thing. Let me take this one, Shift D to duplicate it and isolated with these. Okay, Now see, there are plenty of them that are inside of this Boolean piece and some of them that are outside. Okay, now I'm taking this one and this one does the Host Control minus. Let's go the other way. It looks like we should go the other side. I should take this one as the Boolean piece and then this panel as the side piece, Control minus. Okay, Now it's doing exactly the reverse of what we are expecting from that. Let's go for intersect. And now you see this panel is getting cut in here perfectly. So let me just take them and just drag him out a bit and the surface and then take this one. Does the host object because I'm going to cut these N Control Minus. And then where the normal modifier is going to solve those issues. Like so. Now, I believe that it's a good result, except the fact that we need to make the inner rectangle to have a bit of depth variation from that. So now because this one is only one instance and it's real time and it's non-destructive. And it means that every change that I do to this instance, you see, these are all cyber instances. They are not real. Everything that I do on this is going to be applied on all of them, even the bevel and the array boolean, everything. So this is it. Let me take this one and I'm going to re-scale that in a bit. Okay? Then we scale that in just a bit. Let's do a bit of more scaling in z. Okay, like so. And then apply the bevel and Boolean not apply to show them. Okay, now everything is in here. Let's go back. And now you see the form is a little bit more prominent. And this is very good. I'm happy with it. Let's take it when you say the only place that they are getting shown is based on that object that we have here to cut that. And it means that if you go and try to move this, it's going to be changed on realtime. Of course, this is the P studies driving the boolean on this one. Let's de-select that and do another selection. Again, that one, I don't know. You say there are two Booleans in there. One is this one on, one is this one. So just control Z to go back. And now we need to cut a panel on this side. And that is gonna be so easy. Still we're going to bring in a cube and it can hold down shift until be an exact cube. But we want this one to be a rectangle piece. Like so. Let's just eyeball this. To be in the center. Apply the rotation and the scale. And I'm going to add a Boolean in this. Excuse me, not a Boolean has the bubble every time I do that mistake. Okay, one. And let's add Some more vertices. And I'm going to take this, drag it in and select this one and Control minus. Now let's take a look at it. Let's give us a good result, but we need to do the same thing that we did on the other piece. Let's take this and I'm going to scale that burst in z to add more, more profile to that. Just a bit in z. Not so much, and just a little bit in Y as well. So make the profile a little bit better. Okay, after this one, I'm going to add an array modifier. Array. It's going to be in Z this time, not negative z. It's going to be in positive z. Okay, let's make it one. But you see that in here, it's very compressed. We need to do all ones in there. But one thing is, I noticed that these panel lines are a smaller and smaller in Z. So I'm taking that lets up something like this. Okay? Now I'm taking this one as an object. Instead of scaling that we go in edit mode and take this one and bring it down in z just a bit. To make such a panel cut. Okay. Now let's drag it in Bevel. And then the array modifier. Now you see there's a bit of distancing in between them. And it's OK. So you see this one is bigger than this one. Let's see, 25 instances is okay. But I need to take this one and drag it down so that it starts right from the bottom piece in here. And let's add one more instance. I want that to match the side exactly these panel lines. Okay, Now we got it. Let's take it and I'm going to bring it up in z, g, and z so that they match up like so. Now let me take a look at it. And now you see we're getting somewhere. We are actually adding details and we're happy with these details. One more thing that we could add is the little bit of panel cut in here. And the spinal cord is gonna be something like this is gonna be a very, very tiny panel cuts. Okay, let me bring in a cube. This cube is going to be very, very tiny. Like so. I believe that this one respects the normals. I do not want to respect the normals. Or either way, I want the normals from this one. I do not want to have any rotation value in there. Okay, Now, take this one. Now, I'm going to scale that in y. I want very, very small cube. Apply the rotation and the scale and take this one Control minus, okay, you see now this one has cut into the surface. But now we need to go drag the way that normal modifier down. Okay, like so. And now there's some changes that we need to do on this and that is taking the Boolean piece. Now, adding a solidify modifier. Now to solidify is too much. Let's apply the scale and set this one to zero, brought it back and 0.1. Now you see this panel cuts in here. It keeps the surrounding geometry, but it tries to cut that shape in here. I feel like I'm happy with it, but we can drag this one out a bit and try to scale that MY to make that panel a little bit better. Okay. Because this is a tiny object. Now let's apply the scale on that. And after that, let's add a bevel. And let's do 0.1. 0.1 is too much, 0.05, 0.002, I believe, should do. After some testing, I found out that this value works. Okay, now I'm going to add an array modifier. Disappeared. And that is because the array is going in x, but we want that to go in Y. Okay? It's going to be in y, but let's see in which direction it's going to be in positive y. So let's add to add some more variations. Now, you see the sci-fi thing. Panel cuts in here. Perfect. But we could go on the solidify and try to make it a bit smaller, like so. But overall, we could drag this one to the side of it and eyeball it to make it, to make sure that it's exactly in the center of the object. Just a bit more. We could try to add this one on the top side as well. So that requires a mirror modifier. So let's bring the mirror modifier. That is going to be along z, not x, it's going to be along z. But let's deactivate that for now and make the object to be this one. Now. Z, Let's lipid. And the reason that it's not working, I believe that is because of the pivot of this one. So now you see the pivot is exactly in here. We want this one to be in the center. So Alton S to bring that in center. And now I take this and let's go hit Z again. And now it's based on cube. Let's show it. Now you see after changing the pivot, it's showing up exactly in here, perfectly. So when you are using an object as a mirror here, really need to take a look at where the pivot of that object is placed. Here. Let me see if I could mirror this along x as well to appear on this side. So let's go and take the Boolean pieces. And it's going to be along x. So, okay, and you see with only one click, we were able to transform these to the other side. It adds some much more detail there. Okay, Now I'm having a mind to go and create an audio system in here. We're going to create some audio plugs and maybe some controllers based on the mixer that we looked at earlier. But since there is going to take a lot of time, I'm going to leave it for another lesson. But before that, it's good to go. And in this very lesson, create a strap on this side. It's going to have a locker. And then we're gonna cloth simulation the strap to hang from here. I'll talk that from this reference you see, it kind of has that a strap. And we're going to model that. Okay. Now before making the strap using the cloth modifier, let's create a locker for it. We're gonna go and hold down, shift, drag it out. Now I'm going to scale that in X-like. So I do not want to make this too far off from the actual surface. So let's bring that eyeball it so that it's relatively in the center. And then just like always, I'm going to make it as smooth and based on third degrees. And now I'm going to take a duplicate because I'm going to first card in the Carver in here. So while I have that backup, I'm taking this one and this piece control minus, and then just drag it above the weighted normal modifier so that we're good to go. Now it's time to go and drag this one out. Let's see, looks like there's something off with this. Let's apply the rotation and the scale. In order to capture the details better. I'm going in and just selecting this one, Control B to add the bevel so that it captures the highlights a little bit better. Okay, like so. And then I'm taking this one and dragging that in x. Like so. So that'll create that reverse bubble just like always, to capture more of that highlights around the edges while having this one selected in face mode. I'm hitting Shift and N and then recalculate the Normals Inside, then Control B to add that reverse pebble. Now we need to control plus once. And let's do one more. Let's select that its entire form. And now we can go and try to bring this even more to capture all of those details. Now, you see this one has a little bit of more details. It looks like it has been carved into the place and we have that backup piece that we kept for this use. Now, let's bring the pivot in here. Just go select this face Alton S to bring the period in here. And I'm going to drag it out just like so. We only need something to capture the details. So there's not actually a point in leaving a lot of geometry in here that is going to be wasted. Okay? Now this is too much. Let's scale in x. And now it's good. Apply the rotation and the scale. And now I'm going to carve some pieces in here. So let me go and bring a cube. And I'm going to make this cube very small until it matches the exact shape that we have here. Like so. Then I'm going to select both of them, Alton a, align them together perfectly. Now, let's select this one. And since this one is perfectly centered, is going to be awesome for the purpose. Now in z, once more in x, and it's good. So now let's apply the rotation and the scale. And I'm going to Boolean that control minus. Now let's go back and I'm taking this. And since this one is destructive, I can go Control B to add a lot of segments in here. And if we go back, you see now this is the shape that we get exactly what I wanted from that. Then again, I'm going to make it mirror upside down in here, so easily go in here. Another mirror modifier. Again, we're going to make this one the pivot point. So the pivot point is exactly in the center in z no matter where it is, where it is in X because we're going to mirror that in z. So now let's select this one and mirror that in z. First we need to set the object to this one. Okay, perfect. Then we get this shape. Let's go back and try to see how it works with the piece. I'm happy with it. But we could go and try to rotate this 90 degrees. But if I take the piece and rotated, you see nothing happens because the Boolean pieces stay on the same place. We do not want that. So in order to move them together, you could go select a Boolean pieces and this one and move them together, like so. But it doesn't work because the pivot and all of those things are different. So let's take this. I'm going to apply the mirror. And now since this one is the Boolean, I'm going to attach that to this one without actually attaching to geometry. We're going to use the parent's system. We're going to make this one the children and the locker to be the parent. So I'm taking this one and this one as the active object Control P and set pattern tool object keep transform. So now every time we go and take them, transform change on this one, you see all of the Boolean pieces work with it and move with it as well, as well as rotating that. You see. Now, these shared the same pivot as this one. We could go and rotate these individually, but the same thing happens when we go and try to move the parent. All of these children's are going to move with it. Now. It's good about this one. And let's go take these and push them a little bit further. Because I'm going to carve a cylindrical shape in here. Let's bring the cylinder and I'm going to hold down shift and make it a perfect cylinder. It looks like we have a little bit of angle variation. Let's set this one to 0.0, this one out as well, because we were sampling from a wrong normal. Okay, now it's a good one. Just like always, we're going to add some bubbles to this to capture some more highlights. Ok, Control Minus. And see everything that we do here is based on Boolean workflow and it's non-destructive here. You can go change whatever you want to do with it without any problem. Now I'm selecting this and let me select these two faces. Shift and N, recalculate control B2 bubble, like so. But I'm only going to add one small bubble. Now, I'm going to bring this one in here. Like so to capture these details, of course, a lot of this geometry, these later on is going to be removed and only rely on the normal map. Okay, probably the same, but we need to drag this one out a bit. Like so. Now using this method, we're not capturing these details. So another way would be to go and risque in this until here, so that we get a full capture and then go on the logger piece and after all of them at a bubble so that it captures all of the geometry. So let's go for the amount of segments. Okay, so now we have more captures in here. And for the faceted shading, it doesn't matter actually. Let's go shade smooth on this or the normals. Then on these pieces as well, Let's go for Shade Smooth. And then based on 30 degrees, and now this is more or less flat. Now let's go about this one as well. This piece that goes in needs to be smooth. Okay, Now, it's alright. Then we can go and try to simulate the strap. So for the simulation first, we need to make the base mesh. We need to simulate something like this shape. I'm going to make it lie and having to create something like this. So it would be easy to create that. All you need to do is adding preference. I'm going to add ons, just search for extra. And there are a couple of options. One is ATC curve and add mesh. Both of them are useful, but this time we're going to use as much. So we go to Mesh and the only thing that we need to add is adding a single vertices. Okay, now it's in here, a single vertex. And we're going to start our way from this one. So we go to Edit mode and try to rough out the shape of a hanging a strap. Just the shape that represents what we want. Let's take these two and then I'm going to take them merged by distance so that they get merged perfectly. So now you need to hit Alt on as to bring the pivot right in here. And then let's apply this scale and rotation on it. So we need to go on the edge mode, in the edit mode, right-click and N to create a face and then insert to create some geometry. Okay, Now in edit mode, I'm selecting this space and we're moving that. Okay, now this is going to be the shape for the strap and for the ease of use, I'm going to select these top vertices and Alton as in here to bring that as the pivot. So now this one is optional. You can do that or he can remove it. I'm going to go and add some Segments. So make these just in the same threshold of size. Say, I do not want some of them to be bigger than other ones and some of them are smaller rooms. Now, we need to apply the cloth simulation to this one, but before that, we need some geometry to work with. And the first thing that we need to add is the solidified, because now this is a simple plain, it's not going to work. So we go to solidify modifier. Now, let's set it to 0.1. Now this isn't that much, okay? One is okay for now. Later on we could go and try to change it. And let's set the motor complex. Sometimes it's better to create complex geometry with it. After this one we are going for a subdivision surface because for the cloth simulation, we need a lot of subdivision. And I'm keeping this one non-destructive. We can go try to change everything what we wanted with no problems. So on this one, right-click Shade Smooth, disabled optimization display to see how many geometry and how much geometry you have in here. Okay, now I'm having this one. I'm going to do the cloth simulation. So now let's go see what, how the cloth simulation works. So there are couple of ways to activate that. The first thing is going into physics properties. And in here, you want to select the cloth. And another way is going to add a modifier and articulate. So both of them just work the same. And this one needs the timeline to play the play the animation. So now let's play and you see the cloud starts to fall off because the gravity is turned on in here. If we go in here to feel great, it has gravity. So we need to exclude some pieces of this geometry from getting affected by this gravity and all of that. And we're going to use that are created by using the vertex data. So we go in edit mode and you see you still get that. Plane that we had there. Now, I'm going to select this top one, this two. And I'm going to go in the object data properties. And in here we have a vertex groups. So add a vertex group, a sign. Now let's select, de-select the sea. So it works just fine. And now we need to exclude these from getting calculated and the physics properties. So it can either go to Physics tab and get the cloth simulation or you can go to Modify tab, hit this icon and go to the same settings. The first thing that we need to do is opening their shape. And in here you see pink group. This is going to pin this object. Print these vertices in here so that they stay on the place and everything else gets calculated. So now let's go select the default vertex group that we did. And now let's go play the animation and you see everything moves. But these vertices that we created, and it easily creates a strap for us. Very easy and really nothing actually complex. Okay, now let's take a look at it. I'm happy with it. Of course you can go and try to change some settings, e.g. quality of steps, Let's set it to 15. They can go play with multiple. Most of these settings to see what you get is that you need to go back, set this one back, and then play the animation more. And because now we increase the quality, it's getting a little bit longer to create. But you see this one has been pinned in here and everything else moves so that we get this one, this effect going on. So leave it until the frame rate that you like. I feel like this one is okay. And now this is non-destructive. But there's something, if you move this, you see everything, gets reset it to the default place. So in order to bake that, you either, you want to apply the class modifier by hitting Alt on a, excuse me, controlling a to apply that. Or you can go and try to bake the animation. So the second way is going into the cache. And here you see we have a timeline in here. And it has by default 25, excuse me, 250 frames. We do not want all of that. So the frame, the simulation and start is going to be one. And the end. Let's set it to 90, okay, and then you can hit bake. It's going to take a bit of time to calculate to the frame. And then it will give you the animation. So I'm going to pause and get back to you. Okay? Now the animation is baked. Now if I try to move or play, you see we get a perfect animation. Okay, Now I'm happy with this. Now in order to bake the animation and prevent that from moving and making that a static object that later on we can UV or to whatever we want to do with it. We can go and control a on this. Because that was not the first modifier. It's given us those problems. In order to fix that, we go and do the classic way. Delete the bake in here, just go and apply. It's not given us that result either. So let's go back and just try to rebate the animation by playing. And now this is real-time. Everything that we've seen here is going to be applied. So I'm going to let it play for some time and get back to you when I'm happy at their results. Around this frame. Looks alright. And then you can go apply the class modifier. Okay? But before that, we need to go and apply the solidify subdivision and then the class modifier to get the same result. Okay, now that I have this and the pivot is exactly in here, we can go rotate this by 90 degrees and try to place it somewhere in here. There might be some problems in the simulation. If you go to the face orientation, you see these problems happening. That was because of the fact that we didn't have enough thickness on this cloth. So let's go back. Control Z couple of times. Now under solidify modifier, I need to set this equal to three. Now it has enough thickness and we can work with it. Let's set the offset to zero and add one more layer of subdivision. Now let's go again on the same quality. The same everything has been happened. And now there is an option called self collision. This is preventing the geometry to get accidentally in way of each other and creating that ugly red results. But it's going to take a lot of more time to calculate. But let's see how we can do about this one. I'm going to play and get back to you when I'm happy with the results. Around this frame, everything looks alright except for maybe a couple of issues. Let's go back. I believe this frame or the next one might be a good one as well. Okay, like so. And now we do not get any major problems. If we had any problem, Who will fix that later on, maybe in ZBrush or something. Okay, now that we're happy with this, Let's go for this one and apply the solidify subdivision and then the clouds modifier. Okay, now we get that. And let's go in here. Bring everything back. I'm going to select this one and place the pivot in here. Okay, now let's try to eyeball this to the exact same place in here. Now let's go take it. And I'm gonna go bring everything back. Now that I'm taking this, Let's bring that exactly in the center. I'm going to select these vertices. And in order to move all of the pieces with it, I'm going to go for proportional editing. So now you see every time that I moved this one, all of the pieces are going to be moved with it. And the same thing goes for scaling as well. So when I'm happy with that, just hit scale for scaling that. And using your mouse wheel, you can try to increase that threshold or try to decrease that. Okay, you say this is the proportional editing tool that we have. The only want that to be limited to this top part. Okay? Now you see it's getting placed in here. More or less. We're getting the same result. But we need to rotate this 90 degrees to match that. But this one isn't working. Let's go rotate that again 90 degrees. And I need to place this on a place that makes sense. Maybe on this side. Let's try to take it and re-scale it until we get this. Okay? Now this one looks a bit to space consuming. I'm going to scale that and why? Okay, so one more thing that I can do is confirming this one bit to this side. We're gonna go in and while having the proportional editing, we could go and try to move these pieces with it. Okay, let's take them. And this one as the last final piece. And then let's take them and drag them out. Just like so. In here, we created a strap for it as well using the cloth simulation. And for the last one. In this lesson, we could go take this and try to move it in place just a bit. So the first thing we need to decrease the size of the circle and try to roughly place it in here. Now this is good and I'm happy with it. I'll see you in the next one where we go and try to create this audio system in here. Okay, See you there. 13. Audio Mixer On Top: Okay, everybody now created the strap and we can go and create, create the audio system in here. But before that, this one really doesn't make sense to me. It looks like we could go and try to make a ring in here that we could try this one too. So now, instead of creating new geometry, I'm going to borrow from the geometry that we have. So now this ring is exactly in place that we wanted. So let me go in and I'm going to go into edit mode, excuse me. And take this face and Shift D to duplicate P to separate it by selection. Now we have the spring in here that we could use. So let's bring the pivot in the center, and let's go back and try to select it. Now this is it. I'm going in the edit mode and just try to insert. Now, delete this whole thing in the middle. Now I'm hitting a three. So that brings it back. And now let's apply the rotation and scale. The first thing is adding a solidify modifier. We do not want that to be too much. So 0.1 looks like a good value. But let's see about the normals to see if they are wrong or right. Smooth based on 30 degrees. And it's okay. Now let's go make the offset zero. Do not want any offset. And then I'm going to go in and edit mode, an edge loop that goes across, and I'm going to re-scale that. But before that, we need to make sure that the proportional editing is turned off like so. And then a bubble on the spring. Okay? Now it's time to go and try to align this ring. Rotate 90 degrees. Let's take this, drag it out for now. And let's go out of this mode so that we can see a little bit better. Now, it's time to align this piece in here. Okay, it's good. And now we can take this and try to bring it in here. This way. It makes much more sense to me. It has a connector as well. And that is more natural. You can go and try to make more changes to this. But this is how I'm liking about it. When I'm taking a look, I really do not like this strap. It's not matching the quality bars that we did for the rest of this. So now let's go and recreate that at this time, maybe do some changes to the workflow. So let's add the single verts, bring the pivot exactly to the same place. And in edit mode, I'm going to go and create a rounder shape that the spacing in-between the pieces is roughly the same. So now let's take these two M merged by distance. Okay? And now I'm going to make this one the pivot. So it looks like this one is a good one. So let's go in here. And I'm going to make this one the pivot. Now apply the rotation and the scale. And in edit mode, in the edge mode, right-click and n. Let's see where the bases are. Basing basically. And then take this one in the polygon mode. I'm going to delete that. Now let's take these vertices, these edges, and try to move them up just a little bit. I'm going to add a subdivision surface. Maybe three is enough. And now I'm going to take this one. And in vertex data, I'm adding them to the same vertex data. Okay? Now, let's go and add the cloth modifier before adding the solidify modifier. And the previous one we added the solidify modifier after that, the cloth. So now I'm adding the class. Let's bring this back so that every shading issue that happened, we will add the solidify modifier to make them alright, so let's set this one to 15, and then the quality of collision, let's set it to ten. Once more in here in the shape pink groups. I'm going to add that. Okay, now let's go and simulate. Now, this is a better thing, a more liking this one than the previous one. So it's jaggedy, so we need to go ahead and shade smooth. One thing to clear these shading issues is that I'm going to add the solidified after the class modifier. So let's see what happens. Let's add the solidify modifier. Now, it's too much. We need to go set the offset to zero. And then this 12.1. Now you see there's not much of those shading issues and everything is looking alright. So let's set it to point to. Okay, Now this is a lot better than this one. I'm actually liking this one more. Let's set this one to 0.3. Okay? It's alright. Now another subdivision surface to make it smoother and better. Okay, Now this is actually a lot better than the previous one. So now subdivision surface applied, cloth apply under solidify applied. Now let's see, check for any issues. Everything is alright. Let's apply the scale and rotation and then again, check for any issues. So nothing happened. And I'm going to delete this and bring this one to here. So I'll turn a while taking this one line. Okay? Now it's a good one. So we need to go and try to place it in here, roughly a bit of rotation. And in here, we need to do some scaling. It's like these. And while in proportional editing, try to make this scaling a bit more. A smaller. This ring as well could be rotated. Oh, it's not making sense in that way. Again, I'm doing one thing. Let's go see this one. And then I'm going to rotate that instead. Like so, and then rescale it so that it has a place to connect with this week. Okay, now, I feel like this is making more sense. Again, I can go to Edit Mode, bring my pivot to here so that the movement can get a little bit easier on the side. Just the bid. And we're good to go to the next piece, which is the audio kid up top in here. So let's take a look at the references. And this is what we're going to create. I took them an idea from this mixer in here. We need to make an audio kit. It's going to have some paneling. But you see the paneling on this one is going to be positive. All of the paneling that we have done so far have been negative and we subtract it to the surface. But this time we're gonna go and do a positive Boolean. And then we're going to make this audio plug as well. And then later on when we reached to the headphone section, we'll make this spiral wire. I think we will make that procedural so that we could change the design wherever we want it to. Now, the first thing is making paneling up top of the main piece. Now let's go in here. And I'm bringing everything back, and I want that to be in here. So let's go bring a cube. And I want that to be exactly in here. Okay, perfect. Now we need to attach this to the piece in here, and we're going to do that using the Boolean. So let me apply the rotation and the scale. And then I'm going to take this and this one Control minus this is going to carve it to the surface. But we're going to make it union. You see now using the union it as cut this piece exactly into here. Now this is part of the same thing. Let me bring the weighted normal modifier down first. So let me isolate this. And now if you go and try to do a bubble or do whatever on this, this piece, this up top piece as well is going to be calculated with it. And let me bring a bevel modifier. Soledad. We understand what we're talking about. Now. The bundle is not doing anything because of a lot of the vertices that are so close to each other. But to test some things, I'm going to go in the geometry and there's something in here, clamped overlap. And wherever two vertices are so close to each other, it prevents the mesh to be pebbles because it's going to cause a lot of issues. So now I uncheck this, you see now this is a very bad results in nobody's ever going to see that. So now let's set this one to 0.1. Now you see because this one has been welded to that piece, the bevel is getting shared among both of them. You see the bubble happens in here. And that is because this piece and this one have been united together. Now let's go back. I feel like there should be a Boolean or something in here. Whatever. Okay, now this is the piece and if I bring it up, you see now it disconnects. So now I'm gonna go in and take the face and try to bring it down a bit. But before doing anything, let me go and see a total composition. Take a look. And see what is going on there. We could go and try to bring that down a bit. Like so. And now I'm taking this face and drag it down in z just a bit. Okay? Now, this one, drag it in. And this one as well, try get in these two phases. We could scale them in why? Make a bevel profile on that scale and in y. Okay, Now that we are taking a look at this, you see, now this is giving us a better result. So now let's go and see about carving the details in here. And you see this one later on that we are applying the Booleans and making the locally, this is going to stay because it's altering the silhouette. It's actually changing something. And we couldn't bake this one into a normal map because it's too far off from the actual surface and we needed that to stay there. So now let's take a look at here later on who will carve something onto that. And for now, I'm having in mind to create some of these buttons. And of course, a place for this audio, something like this. But before that, let's go and try to bring the cylinder in here. Make it a perfect cylinder and drag out. Okay, now I'm going to copy this onetime so that we have a backup copy from that. And I'm taking this control minus so easily. Now we need to drag this one out in here. And let's go back and take it. And we need to add a bit of a bevel on this site to make it capture better than I'm bringing that one out just a bit. Let's try to bring this one in, shifting and having that face selected and inside. Then Control V. Okay, Like so. Now we have actually some details on here. It looks like we're getting some bugs. Let's see why they are here. It's because we have gone too far with the reversed bubble. So I'm controlled Z in DAD. Looks like we need to take this edge and drag it down a bit. Now this edge could be beveled. Actually give us the details. Now, this is good. And this is going to be, or the audio kid, I'm not going to make a positive boolean on this because later on we will take this into the normal map. So let's make this one a bit smaller. Like so. Then I'm going to bring it up in z to make it capture all of the details or bring it down like so. And a bit more as well to capture more details. Now, I'm going to place something for these buttons as well. You see these buttons have this cave and then the buttons are placed just like what we did for this one. You see, we have done that. So now I'm going to take this one. And since we have some bubbles and all kinds of things on that, I'm going to remove this and only take this one Shift D to duplicate it. And I'm dragging that in here. And since it's going to be perfectly placed in there, I'm going to copy that. Maybe sometimes like so. And then I'm going to take them. And maybe now this is okay. And then join them together, Control and J. Then I'm selecting this as the host piece and then Control Minus. And is it created this result? But one thing is that I could take this and try to bring them just a little bit to this side to make room for something if we wanted to make. Ok, and now it's time to place the buttons in here. Let's bring this cylinder and hold down shift so that it's an exact cylinder. Later on, we will decide on this button if we want it to be baked on the normal map or if we want it to be real geometry, apply the scale and rotation and then add a small bubble to capture some of those details. Okay, it's alright. Let's move it here. And then we could copy that exactly two displaces. The details on these are going to be done when we do the text string inside Substance Painter. And as I said, some of the details are going to be done. In Blender, some of them in ZBrush, and some of them are going to be done when we do the texturing. Okay, now that I have this, we could go and take this Boolean piece in here. I'm going to make that a bit smaller because we do not need that much detail in there. Like so. One more thing is that I'm going to take this and duplicate it so that we could add a volume controller as well. You see, I'm really liking this design in here, and we might add that plus this audio plug as well. So I'm taking this dragging that Loved a bit ago in edit mode. Alton G to select everything, Shift D, right-click to paste that in. And then I'm dragging that one out to make a room for that volume controller as well. One of them is going to be for the audio device and one of them for the volume controller. This one down as well. Now I'm thinking about adding a detail in here as well. Let's go take a look and I'm going to add the cylindrical detail. Okay, to do that, I'm going to bring a cylinder. Basically. We're gonna do one thing in here. Let's go in here. I'm going to take this face isolated. Now while having that selected, I'm hitting P by selection. And now I'm deleting this one. So now we have this piece. Now in order to get that shape that we've seen here, you see all of the edges are moving towards the center. We could select this face and hit em and collapse. Now let's hit I to create an inset to create those edges. And then we have the space and collapse. You see now all of those edges are moving in the same place. Now in order to separate these edges, we could go in here at the wireframe. Now, this is going too far. Let's set it to one, or 0.1 or 0.01. Let's play with the values to see what we get from here. Okay, Now this is non-destructive as well. I can go take this vertex and hit Control a and B and then V to make it the vertex. So now I'm gonna go and select these 90 degree vertices that are in here. And then I'm going to drag them out like so. Then let's see what it has done. Okay, I'm free styling in here to see what result I can get by moving some of the vertices. This one and this one, like so. And let's try to drag them in. Okay, You see, we can simply get such a design in here. Let's set it to, point to. Okay, now we have this and we could go and try to carve this into the surface. Let's apply the modifier and take this, drag it down. Looks like this needs to be a smaller, a bit. Like so. It's not doing anything right now, because first, let me make that a bit smaller and then apply the rotation and the scale. We need to bring it up exactly on the surface. Like so. Now we need to go and bring in a solidify modifier exactly on this object. So that is making that chaotic. Let's set the offset to zero and the thickness to a very low number. Now we'll see, we should get this one carved into place by bringing that up in Z. Let's bring that up exactly on the surface. Like so. You see, we have this one carved in place. Then we could add a bit of more details to this by adding maybe subdivision surface. And this needs a bit of drag up to appear fully in the result. Okay, like so. And adding some more vertices to make that. Okay, now it's a good detail, maybe a brand or something, sign up a brand or anything that you can imagine. Now, this one is done as well. Now let's move on to making the volume controller and you plug dance it. Since it's going to make or require another lesson, I'm going to cut it off in here and do that in the next one. Okay, See you there. But one thing that I noticed is that the place for all the plug is okay. But this one needs to get the scale a bit. So let's go into the Edit mode. I'm taking this and dragging that out in here. And this one needs a drag out. Let's bring that. And it needs a scaling, like so. And let's drag it down in z so that all of the curvature details get captured. Okay, now, this is a lot better. Now that we have the place for them. I see you in the next one where we create the details for them. Okay. See you there. 14. Audio Plug And Volume: Okay, Now it's time to go and make the audio plug and the volume controller as well. But one thing that I noticed is that who didn't scale the side edges on that Boolean piece. So now I'm going to go and select the Boolean piece, not the mesh itself. It's a bit tricky to select that. We've got it. Now let's go in and I'm selecting these two edges, scale them. And we're going to limit that to y only. And drag these in just like so. Let's see. Now this is a good one. And we're getting some curvature detail on every place that we take a look at it. Again, we're going to start with the simpler one, which is the volume controller. And then after making that, we will go for the more difficult one, which is the audio kit. This needs a bit of re-scaling and a bit of rough placement to make sure that it's working. Alright, Now, I take this one and set it as the pivot. Let's place it roughly above the surface. Shade Smooth and based on 30 degrees. Now I'm going to scale that in Z and taking a look to see how far we could go by scaling this one. Okay, It looks like a bit of more scaling in Z is allowed. If you want it a bit more. Now, apply the rotation and scale. And now I'm going to round this part of we could do that simply by going in and adding a bubble. We could do that non-destructively, or we could do that destructively, which I'm going to do now. Ok, Control B and add some more segments to round this part of. Okay, now you see this is going very well. And if it wanted to make this one destructively or non-destructively, excuse me, using the modifiers, you can go and try to add the bubble weight on this one, set it to one. And then you could go add a bevel modifier. And instead of using the angle, you could go for bevel eight so that we use this one only has the bubble. Wait. Okay, now let's try this one just like so. Then enough segments to make this one round. Everything looks alright. This is about it. Now since this one is non-destructive, you can go and use the modifier to do whatever you want to do with it. Okay, now, I feel like this one is a good one. And I'm not actually going to make this one-to-one copy exactly like this. I only want to take that as an idea and then make my own design to see what happens. Now. In order to do that, I'm going to separate. And since we're going to use the same curvature, we can go and try to select this face. Let's de-select. Let's see. We could go and try to select these two faces. Shift D to duplicate and then p by selection. Now we have a phase that we could try to change and do whatever we want to do with it. Okay, let me take them. Then. Let's cut something in. Solidify modifier that's at that, but not so much. Offset is going to be zero. And then this 1.1. Let's see what results we can get with that. I do not want to go too far because later on, I do not want to make this one a real geometry. We rely on the bake normal map on this. 0.01 or 0.05 is a good value. Then I'm going to copy that around this. So first let's apply the solidify modifier. And one more thing to make that more detail, who can go in here? This phase controlled bubble, like so. Then let's take this one and this one Control minus. Let's see the result. I'm happy with it. Now, let's go back. We have this Boolean piece that we could try to revolve around this one. So now I'm taking this and let's first take this one. And since the pivot is in the center, I'm going to bring the world center exactly to this pivot so that we could later on he use it to revolve around Shift and S, bring the pivot to select it, excuse me, the world origin to select it. Now I'm selecting this and the period. Let's set it to. The 3D cursor, which is this one. So now I'm taking this shift D, rotate around 90 degrees another time. 90 degrees another time. Okay, like so. And then I'm going to take all of them, shift D, another 90 degrees, or let's go 480 degrees or whatever. Let's select all of them. Shift D and 45 degrees could be okay. Now take them all, join them and then joined onto this last piece so that they get carved in the surface as well. So now this is it. Let's go back and take a look. Okay, I'm happy with it. And let's bring the Boolean piece back and add a bevel modifier to add some more details to make the curvatures more sophisticated. Okay, let's add just a tiny, tiny. Okay, like so everything is working on right? Now that I'm taking a look, I see that this part in here has been flattened. Again. It's going to be easy. Let's bring in cube, scale it by a very, very low number and drag it up. Now, the pivot needs to go exactly in here. Scale it in z, scale it in y as well. Now I'm bringing that in here, Control minus to cut off that part. Okay? Now this is more like it. Now we need to make the audio login here. And taking a look at the references, you see it has this part into it. I'm going to start with this middle piece and then we go for the plastic piece because the metal piece is a bit simpler to make. So it has this cylindrical shape that has this hatched line continue all over the place. But this one is a bit better to me. It has more details. So let's go and make this one. Dragging the reference out. And then starting with a simple cylinder, hold down, shift, drag it out. Okay. Now we need to place it in here. Exactly. Okay, now let's start to work on it. First. Let's shade smooth and based on 30 degrees. And then I'm going to make this piece in here. And instead of doing a extrude, I'm going to copy. So let me copy that out and bring it up. I need to snap it exactly to this side. So let's bring the vertex snap active. It looks like first I need to make the pivot to here. So I'm selecting this vertices and make that the pivot. Then we could snap it perfectly to here. So now I'm going to make this design and that is easy enough to do. But before that, there is something to consider and that is I'm going to delete this top face. And in this one, I'm going to delete this bottom face because later on, we're going to join these two together to make it a one-piece. Okay? Now, in order to prevent these edges on the border to change, I'm going to go at two vertices and scale them until they get here. So now everything that we're gonna do is in this boundaries. So now I'm selecting all of these phases. Or before that, let's try to add enough vertices to make them some kind of round shape. Okay, now, let's try to select these. Okay, everything has been selected. Now we need to triangulate these. So now I'm bringing my search menu, which I set the shortcut to be controlling a free. Okay, Now there's an option called The Polk. So Polk faces, it's going to do something like this and create these diagonal lines. Now while having the polygon mode selected, I'm going to right-click and triangles the quote you see now the curvature of the lines have been changed. Now in order to create that shape, let me see that. I could go and try to insert. But now you see it's inserting all of them at the same time. I'm going to make them insert one by one, so we need to hit I once more to make that happen. Okay, so let's see about the curvature. And now we need to scale these ones out to make that detail pop-up. Now we'll see we created that detail very easily using this workflow. But now I need to go and add a bevel modifier to make that capture even a lot better. And take a look at this. I'm happy with this. Okay, now apply the bevel modifier, and now I'm taking these two pieces Control J together. And now let's go. And since I didn't change these border edges, I can go and select these control plus ones. But here you see it selects this one, these ones as well. Now I can go, and since these are selected, I can hit em, merged by distance. This one is too much. Let's set it to a very low number. You see now a lot of the vertices have been changed. And now if I select a face, e.g. and hit select the link. You can see that now it's one piece and everything has been sealed together perfectly. Okay. Now we need to do the extrusion to make the rest of the piece. And that is very simple. So let's bring everything back. I can drag this one down, extrude, re-scale, drag it up. Another extrude. This one is going to be longer than this time. I'm going to insert first. Okay? Now, let's try to do something like this. Now on this face, I'm going to add a small bubble, like so. And then drag it out. And another bubble. Of course we can go and add some more details here, e.g. taking these control B, select them. And now while having the polygons selected, I can hit I to insert and then I again to make them like that. And then Control to drag the profile n and just re-scale them n. While having the individual origins in z to make the profile a bit more stronger. Okay, so now we made this, but this one is upside down. So 90 degrees. This is going to be here. Okay? Now we need to make this piece as well. This is going to be simple as well. Let me select this. I'm selecting this phase shift and D to duplicate it. And p by selection. Now, let's place the pivot in here, bring everything back. And then I'm gonna go into the Edit mode and try to do the extrusion to make the piece. I'm froze the roughing out the shape. Like so. Let's just bring that down. Out of vertices in here. Bring it up. I'm going to add that curvature in here. Okay? And then hit the bubble. And then add another versus in here and make it a smaller. This top side as well, thins out as it goes along. Like so. But now let's add a curvature and try to refine the curvature bit. Control B. Let's do some detailing on this. Let's bring everything back and take these ledgers and slide them so that they do not change. Then add enough vertices or the details to pop in. These control be in polygon mode, just insert and then holding down Control to bring that in. To make these details. I'm not going non-destructive on this. Let's just be destructive. And later on we could optimize this for game resolution object. So insert and then control to bring that in. And I'm going randomly on these places. Okay, let's add some more edges so that we have enough options to select. Now I'm batch selecting some of these. Hold down Shift Control. And then hold down Shift Control, select the select what you want. Again, shift control, control select. And then one last, let's make it here. And another one. Control B to add the pebble and go to polygon mode, insert and then using control. Just do something like this. This is the small detail that we added four there. And we need to cut the place for the wire later on as well. Insert Control N. So later on we will make the wire when we go for the headphone section. Okay, now I believe that it's enough for this lesson. In the next one, we can go and try to add even more details and maybe move to this part as well. But before that, let's see what we can do with this. Let's select this space, remove it, and select this one and remove it as well. Select the face. And because we have used the geometry, we could easily select them and join them together without any problem. Now, let me bring the geometry back and I'm going to select this row of edges. Excuse me, this is row of vertices. And then control. Only, not controlled. Okay? Now this becomes one-piece, one solid piece. Okay, See you on the next one where we try to add more details. I'll see you there. 15. Detailing The Back Panels: Okay, so now, before doing any changes, I really liked to make the design a bit more complex. And up the leg, if we go ahead and cut this corner of it would be a good design. So in order to do that, I'm not actually going to create a new geometry. We're going to borrow from this one that is exactly according to this part of right away. And if we go to Edit Mode is if I change anything about this, the whole mesh gets changed. Now I'm going to Shift D. To select this. You see, it's a bit slow because it's now a part of a Boolean piece. So let me just rotate this to a certain degree that is something like this, e.g. and then try to drag it down. Not that much. I do not want to hurt this panel in dealt with it. Let's try it. Now. I'm taking this face. I want to extend it a bit. So let's go to normal so that we only extend in the normals of the exact shape. Like so. And now go back. And it looks like I did a wrong selection. We actually selected the one that was used for Karina of these panels. So it doesn't matter. I can go and take this Alton G and now p by selection. Let's go take a look at this to see which one is the valving this Boolean piece. This is not. Let's go see the plane now. The cube, the name of the cube is cubed zero-zero for so we need to find it. Let's select this one. This is now a cube, 14. Now this is cubed zeros, zero for. Now I'm selecting these two. Let me select this one and this one, Control J. Now let's go back. And you say this part has been cut off because now this Boolean is the same part of this Boolean and they're doing exactly the same thing. But now one thing is that I do not want to cut off right to the end. I'm taking this and now the global mode. Just move it in Y to bring some of that piece back. Like so. Maybe something like this. And now I'm taking this piece, drag it in here. Okay? Now let's take a look at it, and now you see it adds more to this one. Now one more thing is that this piece in here needs to get deleted or gone into the surface, actually, this one as well. So let's apply the mirror. I'm going to take this piece only and drag it in the surface. And because this is a Boolean piece, it's going to cut off really well into the object. It's already a Boolean piece. Now, upload a mirror on that one as well. Then we did it and added one extra card to the surface to make it more complex. And now I believe it's time to go on and move to the other side and finish this one. And here's the reference that we have. And the first thing that is so obvious is that it has a speaker or something, and then multiple speakers repeated. And then we have some bolts in place, which we could do so easily. And then this is this part actually that we're going to do using the texture and insights substance. Because this is an emissive part, it's going to shine light. So first we carved the place in, inside Blender, detail it out inside ZBrush, and then do the final texturing phase inside painter. So for now, the first thing is this overall paneling that we have here. You say the panel goes around and we need to do that. And now let's see what we have here. I'm going to disable all of them. And this is what we get basically. Now, this is the default cube that we had. First we have a boolean that rounds everything. Then we have this one that calls the place for the handle. Now we have a bubble that rounds out these corners. And then we have another Boolean that cuts this one on this angle. And then this one should be, this one. Is it. So this is where we get. Now in order to recalculate the normals, Let's bring a where the normal modifier and said keep sharp so that we're good to go. Okay, Now, the first thing I'm going to call this overall panel. You see now this is the piece. And then there's a door or a panel or something that maybe people open it up, change the battery or do something. I don't know. But this is what we're going to do now. And now. I'm making sure that this one isn't going to change at all until the end because I'm going to shift the duplicate to create a copy from it. Then apply the modifiers so that I'm able to catch this face in here. So now let's see what a face normals. I do not need it. Now, let's deactivate it. I want this one. This one as well. The pebble might be or might not. So I do not want a bevel because I only want a single phase. Now this one cuts and then this one as well. We do not need it. Okay, Now we've got all of these, and now I'm going to make this one destructive. And that is, we go in and we could go and try to change anything. Then you see the bat shading in here. We could easily go try to clear an enormous. And now you see every shading issue that we have is gone. And this is why I really tell you to not to worry that much about let me go back. Shading issues like this because later on that we can go to get the real geometry. All of the shading issues are gonna be fixed. So we do not really need to care about this one whatsoever. So now I'm taking this face and now p by selection, and I'm taking this one removing, okay, now we've got this face and it's ready to be a cutter to cut this part n. So now let me bring that in. It doesn't matter actually because one way or the other, we're gonna go and bring in the solidify modifier, the add some thickness to it. This is it. Now let's take a look at it. And there are some changes that we could do. I'm gonna go in and drag this one. And drag this one in as well. This is the frame that we're deciding on. And let's, let's do something. I'm going to scale that in x. Okay, like so. And then I'm taking this one and dragging out so that there's a bit of the sensing in between these. Okay, Now we got this and I'm gonna go apply the rotation and scale and making sure that the normals are correct because sometimes the solidify modifier corrupts the geometry and the normals. Okay, now I'm taking this one and this piece control minus the bevel, excuse me, the Boolean, I always mistake them. Now excuse me, let me bring this one back. Now we have this one in here, right in place. Now, you see there's nothing actually there, but we need to go in here, apply the geometry. And now, while this one has the geometry in itself and are applied the solidify modifier to get the real geometry, I'm gonna go and apply another solidify modifier. And you know the rules, we're going to set that too complex for now. Set the offset to zero because we do not want the offset. And then we're going to use a very, very lower number, a number on this. Okay? Now let's take a look at it and you see a bit of curving in here. And in order to catch the normals better, I'm gonna go and add a bevel modifier after. Now you say it catches the normals perfectly. And we can go and try to add as many segments as we want. But now this is the door for the panel or the case or whatever you can think of. For this one, it follows the same curvature, the same geometry, making it really realistic based on the designs that I have seen yet. All of them that I have seen, a radio or a mobile or something have this profile to them. They have the main shape. Then they have something cut off based on that main shape. So now, in order to be consistent, we're not making sure that we do not change the real shape in here. Now, this is for starters, and it's a good one. And now we need to go and apply the rest of the details. I might start with this speaker in here, and then maybe some of them as well. And we have couple of options. One of them is to make this one real geometry, something like this one that we will later on. Low poly and texture. And the other way around is going and making the Boolean piece like this one that later on is going to be deleted. The first way is adding more shape and silhouette and definition to the shape. But the latter one is gonna be more optimized. So we're gonna go for the second one because this is a game piece and it doesn't hurt if we add a bit of optimization. So now let's go add a cylinder, hold down Shift to make it a perfect cylinder. And I'm going to make it something like this. And now this one and this one have the pivot in the center. I'm taking this and this one as the active object and I'm hitting Alt and a disabled rotation. This one is perfectly centered in here. And I'm happy with it. So now I'm making that smooth based on 30 degrees and take this one and cut it into object. So for now we do not care if that isn't working, right. We need to go and try to bevel this to add some highlights to that. Let's take a look and it's adding a good one. But I'm needing to add a bit of depth into that. I do not want it to be a planar. So let's add an inset. Like so. Let's just add an insert, apply and then m collapse. This is going to make the geometry for us, but it looks like there's something wrong in here. Let's go back and see what is going on. I'm taking the piece in here. Let's hit F3 to bring the real geometry back. And then what I'm going to do is insert, very small Insert and then M collapse. Let's see what this one does. And let's hit up three on this. Okay, it's working perfectly. And now I'm selecting the cylinder and we have a vertex in here. So this is the later vertex. I can go and try to add some depth into this. But since one is going to far, we're getting these issues. So let's see what we could do about it. Let's take this one overall. And then I'm trying to drag this one in. Let's hit control Z. I do not want it to be so much. Okay, This is good. Let's bring the geometry back. I'm going to select this face. Let's select the cylindrical piece and control and B2 add a bubble, but it's not adding a bevel to the Vs. So you need to add v to bring in this one so that the vertices can also get beveled as well. So let's drag that back and try to look at it. Bring everything back. Now we need to go face orientation. Everything is fine. We do not see any problem in there. So it looks like we could go and try to note, let's leave it be this is the piece and it looks like we could go and make this one a bit smaller because based on the reference, this is not a very big piece like this one. We could go back and try to take this. And this one is life. And every change that we do on this is going to be applied no matter what on the surface. So the scale is going to be along z and x. So I'm going to hit Scale and then shipped and why? So that the scale is going to be only along z and x. And now I'm going to drag this one down and it's perfectly centered. You see, there's actually not a problem in here. But we could go and try to resize it just a bit more. So again, I'm hitting scale shift and why exclude the Hawaii from the calculations? And this is okay. Let's take a look at it. Very good. Now later on, I will do something for these pieces. For now let's go and try to carve these pieces out. And you see these have some paneling as well. We might do something like this one on them as well to make them just like speaker or something. But first we need to carve the place for them. But before that, let's reuse some of the geometry. I'm going to take this one. We have this Control D to duplicate and I'm dragging them out. I'm going to mirror them to this side. So one way to re-scale them would be two, rotate around 180 degrees and to bring them in here. And another way would be to rescale these in a negative direction based on the vector that we want to, e.g. now, we want to make the, make these base in the y. So we go scale and now hit Y so that it scales only on y and then hit negative one. Now you say it mirrors them to this side. But there's one problem with this approach. And that is, it destroys the normals. If I go haploid or rotation and scale, you see now, the normals need to be recalculated. So we go in Shift and N to make the normals are right. And this piece needs to get a line with the rest of them. Because this piece that we had, this one goes too far. And it's not on the same plane as the other three, but these are all on the same plane. So now I'm taking this and this one needs to be placed exactly in here to face. So that's about it. And now we need to bring this one, close the object so that we can apply the Boolean. Let's bring them here. But one thing is that. I'm not happy with the placement of these. I want them to be exactly on this panel line. So we're gonna go into edit mode and select all of them and drag them n. And drag these ones up as well. Now, it's a better thing, I believe. Now, let's drag them out just like so. And take this one Control Minus. And just like always the way that normal is going to be on the list. Now, this is okay. In order to fill that, we need to bring in some bolts. To do that. We're going to do the same thing for the bolt as well. So we selected them Shift D. And then again, I'm going to re-scale them on why to get them to face to the other direction. So scale in y and negative one, they got rotated. So now let's go in. And this one needs to get aligned with the rest of them. I believe this one was further. So roughly about the same. Now we need to go face orientation. If we apply the scale, you see the normals are bad. Okay, Now, let me see where they are. Okay, have found them. Now let's apply. The rotation is already applied. Now. Let's drag them in. And we need to place them in just like these as well. Just we need to drag them like so in their places. And this one as well needs to be placed exactly in here. An extra detail that we added on this, and I'm happy with it. Of course, let's go and try to bring them in just a bit. Orthonormal basis. We do not want this to be a geometry piece. One more thing is that I want this one to show a little bit of more depth. Because as you know, we went to this piece and pushed it so far. But that is not enough to capture the depth that I wanted. A way to trick it for the time being, it's tomorrow, sharp, some of these edges. So if I hide everything you see now, although we have some depth in here, but that is not enough to capture that. And I do not want to push this one further into the object because this one is relatively thinner one. And if we pushed the detail too much, we're going to have some intersections with this piece. I do not want to do that. One way to fix that would be taking this Boolean piece and going into edit mode and taking this edge in here and push that in the capture some more depth. But you see since this one is a thin object relatively, it's not supporting the idea, so I'm bringing this one back. Let's Control Z couple of times. Now we would like to go and why having all of these selected Right-click and mark sharp. Now you see this becomes a little bit more defined and having the shape and the smart sharp is at some probability solution for rendering inside Blender. This is not going to actually work when we bring that into ZBrush. This is only for Blender side, and I decided to March sharp this one as well. So if we go and take this edge, e.g. and right-click and mark sharp. And since I use more sharp a lot, I'm going to right-click and add it to a quick favorite menus so that every time I hit Q, I hit that I get this quick favorites and the ones that I use not that regularly to be a shortcut piece or bring them in there. So now you see this one becomes a little bit sharp. So now Let's go back and fix that. Okay, gone. Now it's time to go and add all of the details which are, let me take a look. And they are these pieces that I'm going to add. And they're gonna be so easy. We're going to bring in a cube, like so. And this one is going to be a good one. Now let me drag this one out. And then this one in here, the space is going to be the pivot. So that every time I move, moving based on that, that the reason that I placed it there is because that is exactly in the center of this 100. By check this. And objects that we want to make a Boolean out of, which is this one. And if I hit Alt on a PC, it's going to align them together. But I do not want to align the rotation. I just want to align the center pivot to the center pivot so that this is exactly now in the center of the object. So now let's go apply the rotation and the scale. And I'm going to bring that up. Let me see what we have here. We have one bigger one in here and two smaller ones. Downside. Okay, Now let's bring that in. And now I'm going to Control minus, or we should select this one as well. It's Control Minus. And bring this one. Under the weighted normals. Let me bring it up. Okay, like so. Now I'm going to go and take this edge and in select, go to Select, select loop and then select Azure brings, this is going to select the ring. That is a rounded edge loop, is a set of loops that are connected to each other, e.g. this one, this one, this one is an edge loop. This one is a nice loop, but the edge ring is, are the edges that are just like a ring if that is around your finger, you know what everything is. Okay. Now, Control V to add a small bubble. Now using mouse swill to add some more segments. Okay, now we're seeing some defilement in here. Now in order to make that a little bit better, I'm gonna go in, take this face and double this one as well, Control B. Let's see what we have here. Of course, I do not want to have all of those segments if I hit Control B again, you see now we have a lot of segments. I just want one of them. Now, let's drag this one N. And By the way, we're not seeing a lot of definition in there. So let's go again. I'm taking this one. Let me go in, select this and try to insert a very small number we have, because we have a lot of vertices that are so close to each other that if you tried to re-scale them too much, these would be starting to Intersecting to each other using the insights. Okay, now let me drag this one n. Okay, now if we take a look at here, you see now we have more shape and definition. And let's add one more level. And that is the reverse doubling that we always add into the pieces. I'm dragging this one in. Just like so, and then shipped an n to recalculate the normals. Let me drag the reference out and then take this one Control B to add the bubble. Like so. Not that much because you see it starts to intersect with the other pieces. So now I'm dragging this one in until about here that we start to get that edge definition. Now, it's here, it's a small but it's a good one. But now instead of re-creating the same thing over and over again, and looks like we have problem in here. Let's go see what the problem is, what is causing that problem? So I'm checking these ones on and off. Let's go in. And looks like by accident, I just drag these ones up. I don't know why what is causing that, but this is why we're getting those problems. So now looks like we need to drag this one down to get the problem fixed. So you say, now this should be exactly on the ground, exactly on the ground level. And he said this one has gone up. So because we have the Boolean, it's going to cut up there, but that is not a problem. So now let me bring the pivot exactly in here. And then along z, we want to zero that out. So I simply go to Z and bring that on the ground level and the problem fixed. Okay, now we'll see we get the same thing. And I'm happy that this one happened. That we know how to troubleshoot some of the errors that happen in the production. You see not a lot of times we have no issue at all. One of the good knowledge it is that we're to fix issues when they arise. Now for now, let me bring the 3D cursor to the center, and now we're ready to move on and continue to make this piece. And now that I'm taking a look, this piece is two for n. Because later on this one is going to be baked into normal map and not having the real detail, the real actual details. I'm going to scale it alongside why. I'm telling you just why in a minute. So let's drag that one out. If this one is having too much details, we need to go and make the cage a stronger. So for now, we need to make this one a bit closer because later on, by the way, this is going to be baked into the normal map and doesn't matter how far it goes. By the way, it's going to be baked on a normal map. But one thing that we could do indeed, is taking this face and try to re-scale it, make that reversed a better, stronger. Let's rescale and take all of them using Alt and just drag it out until we're happy with the definition. Okay, now we have some rounder edges in there. So now let's do the continuation, and we are going to make these pieces as well. But in order to do that, I'm going to reuse the geometry instead of recreating that. I'm taking this piece, let me shift D to duplicate and then right-click to paste that just n. And now I'm dragging this one in and make sure that you do not move that Boolean piece because if you move it, you're gonna get the error under design. So now I'm taking this one. But this needs a bit of refinement because you see, but the shape is round a bit. So we need to make that roundness in here. So let's go in and edit mode. And if I try to control our history because we have a lot of guns, it's not going to make a loop cut through. So we need to go bring the k, then use the knife tool so you hit K and then drag it out. It looks like we need to make that x. Again. We need to make that a strong piece. An X here, X so that it moves only on x and then make it C so that it passes through. Click and then apply. So now we have a loop that goes all around the piece. As you can see that let me go back. And then we need to re-scale this in X to make the piece a bit rounder. So scale only in X and try to move that just like so. And then now in order to make it rounder, I'm going to add Bevel. Looks like it's not giving me the result that I want. And that is because of this phase that we have. If you see this one, if I go and bring or hit F, three is in outer space, is wrong and it's causing the issues. Okay, for now, for the time being, I'm going to select this face, drag it out a bit, Shift-click and n. Then we need to take this face and this one, connect them. Okay? Like so. And now we have a loop that goes on across. Now let's do something Control B, C. Now it's working perfectly until here. And now we have a rounder design that has some variations as well. So now, in order to make that perfect, I'm going to like this one, Shift and N to recalculate it so that this becomes the reverse Boolean. Okay, now I'm going to select this one and this one Control Minus as always. Let's see what we have done. We need to drag this one up. The weighted normal modifier. Looks like we need to take this and bring it in calculations just like so. Now, it's perfect, but this one needs to be a bit smaller. So let me take that. And when we're making that are smaller in all of the sides, we need to drag that one out. Like so. Now, I'm happy with this. Now let's add one more variation. And for that I'm going to use an array modifier. And the array, it's going to be based on negative z. So I'm going in here, negative one. It's going to be an array. So let's just increase the distance. Like so. Okay, now we're adding those details and now let's go for this detail. And that is going to be very easy because on Blender side, we're going to just make something like this, like this round piece. Just rotate that 90 degrees and drag it out. And in ZBrush side as well, It's going to be easy because we're only going to smooth that just like what we did on the demo section. But on Substance Painter side, we're going to make the details there. Okay. Now, I'm gonna go in, drag a cylinder. No, let's not go for a cylinder. Let's go for a UV sphere and hold down shift so that it's a perfect thing in there. Now we need to make the dimensions. Alright, so in here, if you hit Enter, you see this menu in the transform, in the Item tab. Dimensions are perfect. And we'll need to make this one a perfect cylinder. Okay, now that I mentioned in X and Y are perfectly fine, we need to copy the same thing in the z to make that perfect. So now let's shade smooth. Let's just compare that to the dimensions that we have here. It's okay, it looks like this one is a good one. Right now. Based on that design, I really like this panel cut and it would be a good idea if I copy that panel cut in here. So for now, let's leave it be. Now, I'm going to go in the edit mode and take this one and this edge loop control V to add a bubble because I'm going to just put a distance like so. We're going to have a cylinder, a perfect cylinder that has round top and bottom. Okay, now let's go back and just a small bit. And now we need to push this one in. So make sure that it's somehow in the center. Okay, now. Boolean workflow. I'm taking the Boolean piece and then the host piece Control Minus, and drag the weather normal modifier down. Okay, Now for now let's take a look. And already it has a good amount of detail. Now, I'm happy with this design. And actually I might just keep this one as a geometry piece because it's going too far. And it will be a good idea to add some geometrical details later on in this piece. Now, to make that better, I'm going to drag it down until here. Okay, now, let's take a look at it. These ones are going to be baked. But this one, I decided that I want that to be a geometrical piece. So now let's bring the panel thing that we talked about before. So I really liked this design to copy that over this place. Now, let me shift D, just like so. And I'm going to go into edit mode and delete this one out. So now I have this. Let's rotate that 180 degrees and just drag it in here. Like so. Until here is good because I do not want to intersect with this piece in here. So while having this one and this one, Control minus the panel cut is there. But this would be repetitive. I don't know. I'm going to take a look at from here. I'm just taking a look at this panel ink line that you see in here. We created that by this Boolean and it's causing all of these happy accidents. I didn't expect to get that. But because we have two panelists in here, and that is one of this Boolean and one of the main piece we're getting so much of cool designs. And the same thing goes for this one as well. One thing is this Boolean piece and one thing is the main piece. Now, I'm stuck in-between the idea of keeping this one the way that it is. Or let me just apply the rotation and the scale. And then bringing in a solidify modifier. Like so. Let's set the offset to be zero. And a very, very low amount to make this actual cuts. Something like this, not a geometrical piece. So I'm happier with this one. Let's go see what we could do else with it. If I go and take this face and try to extrude that in x, Let's see what happens. We get any extra design. Now, I'm not liking that one. So Control Z until so let's take these, drag them up. I'm happy with this because it's just like a panel or something that you open. Place your batteries in. These kinds of storytelling elements that you can think of. Okay, now I'm taking this again because I'm going to make another Boolean because that's what this time on here. So you already see the curvature. So I'm taking everything shifts and D. Then I'm going to rotate that by 90 degrees, like so. And then I'm going to drag it up just like so. To make a paneling. This side as well. Because this is already a Boolean piece. It's taking whatever we add here. And I'm liking this and add some treasury details. I'm going to put some bolts in here. But since this lesson is taking already too long, I'm going to cut it off in here and continue to make the piece in the next lesson where we actually I believe, are going to finalize this radio piece and move on to the headphone piece. See you there. 16. Finishing The Radio: Okay, everybody now will reach to this lesson where I think this is the latest piece in the radio for now. And after this one, we will go for the headphone piece. So now, the first thing that we wanted to do is adding some extra details on here, some smaller bolts that we would add. But before that, let's go take this piece. No, I mean the Boolean piece, which is this one. Then I'm going to add a bevel modifier as well to make it rounder a bit. But now this is too far. Let's set it to 0.1 because I'm only adding the bubble on these rounded edges. This is too much. Now some extra segments make it read a lot better. So now this has more details. But first, let's put something in here. And I feel like going and reusing some of the stuff that we created previously. And this one is perfect. You see this piece is a cylinder, excuse me, spherical detail that fits exactly two there. So now let's shift and D to duplicate it. And then I'm going to bring that back. Rotate. And let's bring that exactly in here. Let's see what we have. Let's first resize that. I'm going to place it right here. It looks like this is floating in the air. Wanted to hit three to bring the geometry back. Okay, now, let's drag this one in and just take a look. First, the edges are jagged, right-click and shade smooth. Of course, on this one, right-click, Shade Smooth to make it a smooth. And if we add a bit of more thickness to that, I feel like it's going to be a better one. Now this is like a chocolate piece. I'm experimenting different designs to see which one of them is going to be better. But I want this one to hold a stronger. So I'm disabling the subdivision and after that, I'm adding a bubble. Okay, let's drag the bubble up the subdivision. A very low number. I only want the segments in here to hold out when we add the subdivision surface. Okay, now, let's take a look. It looks like we could go and try to bring the distance down a bit. Just go with this settings and it should be fine. But I want this one not to show a lot of this background part. So let's take this one. I'm going to do one thing, shift D, Okay, Right-click to paste that just in place and try to rotate that. Okay, now perfectly the design that I wanted, but one thing is that the amount of subdivision is too much. You see now we have a lot of segments in here. Let's drag this one down once, and drag this one down as well. Unlike so, it's a better design. And we're back to a reasonable number. Although all of these are going to be baked only on normal map. It doesn't hurt if we optimize a bit. Okay, Now, some smaller bolts on this side than I do not think, if that makes sense to add bolts on this because this is just like a cabinet piece that you take and drag. So I do not think adding those bolts will actually mean anything. But before that, let's go and add the paneling for these sites. The paneling could be done in here. Let's do something. I'm going to borrow that from this piece in here, because this piece already has the Boolean. And if I go try to isolate that and deactivate the Boolean, we're getting the whole piece back together. So now we have this one. I'm going to Shift D. So that will leave that one in place and delete a Boolean so that we get the main piece. Okay, Now let's bring the period exactly in here and take a look at the normals. Everything seems alright. Let's go back. Okay, I took that and I'm dragging them in here so that we could place them just like on this side. Okay, it's very easy. We have done that before. We need to just drag it in and make the piece, I mean, take this piece that we have Boolean out and boolean on that piece as well. So let's just place them like so. And in z, we did it. And now let's take a look. We are seeing this paneling in here. It's alright. If you want to make that actual size of the panel, we need to take the panels and take this Boolean piece. So now let's take this one, then. This one as the Boolean piece control minus, or we did the reverse thing. Let's take this one and then this one has the active object control minus. So now actually the reverse of what we wanted to do, we need to go to intersect. Ok, now in here we see that this is getting placed. But this one, no, it's good. It's a very good result. And it looks like a speaker or something. And I really do not like this one. I'm taking a look. It's not matching the quality bar that we set for the rest of the pieces. For this one, let's do something. I'm going to do some diagonal pieces. So I'm taking the same paneling, but this time, let's ship the deactivate the Boolean. I'm going to make them diagonally like this. Okay? Now, let's drag them out in y. And our need to bring it here and place it to something like here. Okay, and let's drag it in. And now I need to isolate this one with this Boolean piece. Okay? Now take this one, take the Boolean piece and take this one as the active object Control Minus. And as always, we need to set it to intersect. Okay, now, if I go in here, see now we get some diagonal pieces in here. It looks like we need to take this. You see, we are getting some pieces that are going to for that is because of the Boolean piece. Let's go and hit F3 to bring the geometry back. Okay, now, if we go in here, bring the overlays. And if we take a look at the face orientations, you see this very place orientation isn't doing any help to us. So I'm going to go in here, right-click and bring this one back. Let's go back to see what it does. And we need to go take the Boolean piece, which is this one, and hit F3 to get the result. Now, we still the same thing. Now let's drag this one n. Just like so. In order to help us a little bit better, I'm taking this one and dragging that in y to solve the issues. Okay, so let's see what we could do about this centerpiece. If we add repeating circles starting from here all the way to here, just like these edge loops, it would be a good idea. So now when we're taking a look at this, you see it's obvious that we have some circles to see. Smaller circles, bigger, bigger, bigger, bigger, all the way to the edge. So now you need to do the same thing. And trying to do that manually would be a waste of time. So we are relying on curves to create that. So in order to do that, you need to do one thing and that is going to Edit Preferences add-on. And then in here, just search for extra. And the thing that we learned to activate in previous lesson, the mesh option is a good one. You would use it and the curve option as well, you would use it as well. So now let's go for curve. And in here, Shift a on the curve, there should be a curved as a spiral. So we have some spirals in here. When is this one that I'm not liking the design? Let's see. About spherical. You say, this is something like you start with a smaller circles and go out. But I'm not liking that one. So we need to have one plane, not a circle. We do not want that to have a shape of a circle. Of course we can go and bring spiritual thing and then easily take this half piece like so and hit X to delete vertices. Okay, now that we have this, Let's hit. And now we need to re-scale this along z so that it becomes a planar thing. So now hit S and Z zero. It makes it a perfect piece just like we expected. So let's rotate that. Drag it. Just like in here. I'm going to make it roughly the same size as this piece is. So now let's drag it out. Okay? And I'm happy with it. We're actually creating good results in here. Now we need to go and in order to bring some geometry back in here, we can go because this one is a curve, not a mesh. And we can go in Object Data Properties. And this one is different to a mesh because this one is a curve and we can go to geometry. And you can add some tabs in here. Very small depth. And let's see about the normals. I feel like there's something wrong on this piece. That is because these ones are extending too far. You see now, let's go back and try to see that. Although it's doing a good design, but I'm not happy with it. Let's go take a look at other pieces that we have. Okay, now we need to have a lot of these repeating over and over again and getting bigger as they get close to the surface. Now let's add another circle. We could go and take a circle and try to duplicate it, make it bigger, and so on. But we're going to do rather easier way. So curved profile, no spirals and this one, Let's see what we could do. Let's add some turns. Tap, know. Okay, this is something like that. So we can go and try to add as many as you want and you see it goes, becomes bigger as it goes to the edge. So now we need to bring the radius down like so, and try to add some more. So now, using this one, Let's add some more segments. Okay, and now we need to rotate that 90 degrees and bring that in. And I feel like this one should give us the good result. Just try to drag this one in the center. Like so. We need to go at a very, very small profile shape to it. We are changing the wrong option, excuse me. We should go for this one. Okay, and now I feel like we're getting a good result using this option. And we can add more segments just like so. Then the good thing is that because the distance in between this is the same all over. We're not getting any problems. And one value would do for all of them. We did it. Now, in order to make it editable to the geometry, we need to go to object and convert to mesh. Now this one is a mesh. We can go and try to edit to whatever we want to do with it. So now let's go and add a subdivision surface to make it rounder a bit. Okay, now you see it's more rounder and to the shape that we want. But in order to center that out even more, I'm going to do one thing, take this one and take the Boolean piece. Because the Boolean PCC, it has the pivot exactly in the center. And I'm taking the piece Alton S to bring the pivot in the center. Let's apply the jewelry. Then again, I'm taking this spiral and this one as the last object. Control, excuse me, Alton a to bring that exactly in here. So now this is exactly centered in the middle. And in order to make that part of the piece, I'm going to drag that one in just like so so that there's no extruding onto the surface. Okay, Let's speaker or something that you can imagine of. Okay, now, in order to cut the rest of the pieces, again, I'm taking the Boolean piece and taking this one as the active control minus, okay, then intersect to remove the rest of the pieces. Okay, now go back and we get this piece perfectly. And I feel like it's enough for this back part for this sensor port. For now, I do not have any ideas. It looks like we could do. Let's go brewing in a cylinder and maybe add a lamp or something, rim light or light tube in here. So shift and a four. Now I'm adding that and then we move on to the headphone piece. And later on, if it had, it, had any idea for this, we will add it. But if we didn't have any idea who will stick to this idea? So let's make that a bit smaller. And I'm going to place that exactly on this side. So right-click, Shade Smooth and bring that here in the center. Okay. I'm happy with the scale now. Let's drag it in. And I'm going to place the pivot in here. Exactly. Bring that in here. Just like so. And then tried to scale it in z to be something like this. For now, I'm having this design in mind. I don't know if we are going to change that later on. But if it didn't change it, we will simply add an emissive material to this to be a lamp or something. It would be a glowing yellow lamp thing. Okay, now, it's enough for the radial piece. We have added a lot and we learned a lot of things creating this. And now we're going to apply this knowledge and create a new piece that is not just a rectangular piece and a flat piece like this. It's going to be around peace. It's going to have some curve to it. You see like this one, it's all about curves. And a lot of details that we could add. We might do some cloth simulation as well. So for now, I'm going to stop this lesson and we will move on to the headphone piece. In the next one, we will make the piece and then we will back and then try to bring these into ZBrush to try to add the details in there and make them smooth. And then the low poly and extra ink. Okay, See you there. 17. Headphones Blockout: Okay everybody, congratulations for finishing the base mesh for the radial piece. And now we're ready to move on to the headphone. But before doing that, let's do some quick changes. And I can go take this one. This is too simple, I believe, if we go into edit mode. So let's disable everything in here. I'm going to take this edge in here and do a small bubble. Now, if we activate this, you see now instead of that flatline, we have 45-degree edge. And then this one, then this it looks a lot better, at least to me, it looks better and more natural. Then the second thing is that when I'm taking a look at this, I see that this one is too small, so we make sure that this one is attached. And then we go try to make it a bit bigger. Okay, I want to see more of that because later on we're going to add some wires in here. And I want this one to be big enough to host those wires. Now, I'm having this radio and I'm going to save out the scene for the time being. I'm not going to delete this radio for now unless until we have created a blog called for the headphone piece. So now let's go to the references to see what we're going to create. This is the main concept that we're going for. It. It starts with a cylindrical shape and then a spans and extends until here. And then we have a little bit of buffer zone. Then we have this cushion that we're going to simulate using the cloth simulation. And then we have some cushion simulation for this part as well. And then we have a lot of paneling and things that we're going to create. This is another variation that I'm happy with. And this is the one that I really liked about to create a cushion because you see one design in here and then another different one in here. It makes the design a lot better. And then some of these buttons and knobs. And because we're going to create two headphones, I mean two of these earphones. And in order to make the design better, I'm not going to symmetry them. One of them is going to be having the controllers, e.g. you see on this one we have some controllers, we have some knobs, and some of them. Or the other is going to host these speaker ones that you're familiar with on the design of the headphones. Okay? And then we have this connector piece that is starts from here and goes up. And then we have this cushion, and then we have this wire. I really like this one. You see, we have spherical cut in here and then we have this connector and where that later on emerge into the radio piece in here. And the reason that I kept us is that later on this will be a guide to help us create that wire. Okay, these are the headphones. And now I'm going to block all the headphone. And we're going to start with a cylinder. Okay, now let's scale this one by 0.1. I'm feeling like to make this one a bit bigger. E.g. instead of 20 cm, Let's make this 130 by 30, by 30. Okay? Now this one is going to be a very good dimension for the headphone. I mean the top piece. So I'm going to take that and separate it. And then I'm going to take that cylinder and only have this face. Now this is going to be the general shape and dimension. Now in order to make it even better, you see this one is going to be representing the headband part. This one that we are just taking a look at to half a sphere that connects these two earphones together. So now I'm doing an inset like so or before doing an insert, let me go. And now I'm going to make a cut in here. So it could be in here or in here. So for now, let's leave it being here. I'm hitting j, and then now we have to end guns. When is this one which is going to be deleted? And the other isn't here. So now I'm going to scale that. And just taking a look at the dimensions to see how they are. And now I'm going to take these two faces and delete them. Or before deleting them, let's go create another vertices in here to make the code better. So I'm going to go into K knife mode. Take this and let's see about the vector that we are going to current. It's in y. So let's limit that NY and cut. Okay, now we could go on this one as well, kay? Ny, and then click Enter to accept that. So now I'm going to take this face alongside with this 108. Okay, Now let's go back. And now this one is a very good scale reference. Now, let's bring another. Cylinder as well, because these cylinders are going to be the earphones. That is roughly a cylindrical shape. Again, let's go. We scale that by 0.1. Okay, This is too much. Let's scale that by 0.5. Okay. I'm really trying to convey the message that this is a blackout or that earphone piece. Now, I'm selecting that and let's bring it up in here, exactly in the center. And start here. So now I'm going to select this face, ALT and AST to bring the pivot in here. And then I'm going to rescale that along x. Okay? And this represents roughly the shape of the phone. And now I'm going to mirror that. Let's go bring in a mirror, or we could go select this one. And based on the interests section and the atoms that we have activated, we could hold down Alt, Shift and X and drag to the place that we want that to be. But we need to apply the rotation. Excuse me. We need to apply the rotation so that this rotation value gets zeroed out. Now everything is alright. And then now again Shift Alt and eggs and to this one. But we need to go in mirror and select the object as this one. But you need to make sure that the pivot is exactly in the center of this object. Now that I'm taking a look, depending on the size and everything, It's alright. And this one could be a perfect thing and perfect dimension for the headphone piece. Okay, now that I have this one, I'm going to join these together for now, applied a mirror modifier, Control and J. Now I'm going to select everything else by hitting Control and I to invert the selection. Now we have everything selected in the scene that belongs to the previous project. So simply hit X so that everything gets removed. And in here we can go and try to take this one, bring the pivot in the center and make that rotate in the side because I would like to work in the front view when I'm working on things. Okay, now, this is the dimension for the headphone piece, and we're ready to move on to creating the piece. And just like the previous one, we start in stages. First we go for the big shapes and then medium and small shapes. And one different thing is that for this one we're gonna do a cloth simulation as well. I know we did that for the previous one as well. This one is going to have this cushion, this ear pad, and then this headband as well. Now that I'm taking a look at this, I see that this half circle needs to be a smaller. So let's go in edit mode. Do not select everything, just hit P and by loose parts, it divides it into its different pieces. And now we need to go and select this one and remove it. Now, let's make these two. And it's alright, Okay, now I'm going to add solidify modifier to this to add a bit of dimension to it. So let's apply the rotation and the scale. Now you see the solidify modifier works, alright, because before that it was not working properly. So this is the importance of applying the rotation and scale and maybe sometimes location values when you're creating something with a modifier. So now let's head band. Let's make it something like 3 cm and zero this one out so that we do not get any offset. It looks like 3 cm is alright. Okay? Now, one thing that I noticed is that this inner circle is too much. So I'm gonna go select all of these phases for now, let's disable the solidify modifier in edit mode. If you'd hit this icon, you see that it shows or disabled in the view, in the edit mode. So now I'm taking this, just try to control select until here. Okay, Now we need to scale these alongside their normals. So in order to do that, Let's hit Scale and try to scale. But I'm noticing that on this side once it's not particularly doing a good job. So another way to do that is by going into slide mode. So depending on your shortcuts, it might be double G or tapping G4 three times. It enables you to go into sleep mode. And this icon changes to this shape. So now I'm going to make this one smaller a bit like so. And then let's go take this edge in here or take these two and align them to bottom, like so. And then I'm going to do the same thing for this one as well. Now let's apply the modifier to be seen in edit mode. Now, I feel like we can go and try to scale this because I do not want this to be a simple band that goes all across. I wanted to have some shape variations as well. So smooth. Let's hit auto smooth based on 30 degrees to get a good shading for now. And now I'm going to scale that and I'm going to make it thin on these parts and the bit thicker on this top part. So now I'm going to go in scale mode and I'm going to add proportional editing as well. Because I do not want to scale only one vertices or one phase or whatever you call it. So let's go in here. Select this edge. Because we do not have any actual edge, we need to go for vertices. And because the solidify modifier is not giving us the polygons to work with. I'm going to go and apply that. No problem with it at all. So now let's take this face and take this one. And since we have the proportional editing available as well, if I try to rotate that, we should get some of the polygons to be scaled with it, depending on the actual size of the proportional editing that we're doing. Okay, you see, now that I'm trying to rotate, if you just scroll your mouse wheel, the circle of the radius gets changed. Okay, now, let me do one more. Okay? Now you see it thins out. And as it goes along to the top part, I want that to be a bit thicker, like so. And let's try to take a look at it. And I'm happy with it, except for this part, which needs to get re-scaled. But I'm not going to use proportional editing on this one and make sure that you select the vertices on that side as well. And we're going to scale them and why to make sure that the flow is going to be better. Okay? Now the next thing that we're gonna do is applying the bevel modifier. Make sure that you apply the scale. That this one works perfectly. Okay, now, let's drag the bubble down until very reasonable number. 0.1. Looks like a good value. Now let's add more segments. And in here harden normals to make the shading better on this. And let's try to just work with the curvature of this one. It looks like in this area we need to scale it in y as well. And one in here scale that. And why. We need to select all of the vertices on this row. Okay, Now this is a lot better. And I'm going to take a look at the references or soda. There's this cushion that we need to create for that temporarily. For now, I'm going to borrow the geometry from this because it's going to actually contain the same shape. We're going to borrow the geometry from this one so that later on we will be able to do the simulation on that. So I'm gonna go in and in the edit mode, I'm selecting this and just try to control select until here. Because the simulation is going to go all the way around. I'm going to select these edges as well because you see it goes all around. It's easy, just hit Control Plus, and it selects everything. Okay, Now shift D and hit P by selection. And now we have a piece that is ready for this simulation. Let's remove the bevel from that. And for now temporarily, I'm adding a subdivision to differentiate that from the rest of the pieces. Okay, let's take a look at it. And this is good for that cushion that later on we are going to be applying. And let's do a demo on how the things are going to work. So now depends on if you want to upload a subdivision surface or not. But it's very important that when you assign vertex group, you do not change them. So on this one, I'm not applying the subdivision surface for now. But I'm going to select this edge that goes all around. And let's convert that to a vertex selection by just going into vertex mode and hit Control. And plus looks like because we have selected these as well, It's going all the way to the geometry. I do not want that. So in order to fix that temporarily, I'm adding two loop cuts in here and just try to scale them in y. Like so. Or let's take this one, slide it to hear. It works a lot better in this situation and bring this one in here as well. Like so. The reason for that is because I want to take this edge, convert it to a point selection. And now if we hit Control and plus, it doesn't select these inner ones because now we have some vertices that are preventing that. So now let's go into Object Data Properties. We need to add a vertex group. So this is it. And assign. Now select, de-select, see if everything works. Alright, here, everything is working fine. Now let's go for simulation. And in here we're going to add a cloth modifier. So let's bring that back. Let's go for class modifier. Let's add some segments in quality steps than this one works with the pin group as well. In previous lesson, where we created a strap for print or radio, you saw that we created a pink group and prevent pain is just something like painting something on the wall. When you pin something, it doesn't move. So now we have the vertices selected there, but the photo, Let's go. Add another in here. Okay, Let's go and see about this. These ones are not. Now. I'm gonna go in the modifier, in the pin group. I'm going to bring that. Now let's simulate to see what happens. Nothing happens because we need to apply some things, e.g. now, we need to go in here to pressure. And this pressure is going to apply the pressure on the normals of the geometry. So now let's apply some pressure. And you should notice that we have the subdivision surface on. It has auto smooth. Let's go in here. Turn off the auto smooth so that it works. And now we need to go in here. And you see that if I tried to bring more vertices and go in here by this pressure, if I apply, nothing happened because we need to apply more pressure. So let's go for ten and now apply. A little bit of pressure in there is working alright, and we need to go apply more and accidentally deactivated the subdivision surface. So now we have enough geometry to work with. And the reason that I added this segment in the middle is to distribute the polygons a lot better. And if I go try to remove that, you see now we get less polygons. It looks like it works better with that. Okay, Now let's go on the simulation quality of steps to ten. Now we have enough pressure to start to work. And now you see the areas that we paint are no longer moving, but the areas that we didn't paint or moving, but we need to apply more pressure on that. So now it's ten. The thing that makes it really a strong is this pressure scale. So let's bring it up to 20. And now we see a lot of pressure. But again, it's not so much because there's a setting in the pin group that is preventing us from moving. And that is this stiffness and shrink factor. This is stiffness. Takes these vertices that we have added to the vertex group and makes them stay on the place. And the default factor is 1.1 is so much. So this works just like a fall off. If I try to bring it down, you see now we get more movement on those pieces. Okay. But that is not too much. I can just pause and go back. And another one is this shrinking factor. If I bring this down, it tries to let these areas that do not have the pink, pink group applied on them to have more movement. Okay, now, let's apply. Now you see that a lot better. But of course we need to go in here and this one to be one. Pause, go back, play again. Let's bring this one just a bit. I'm going to bring that down to double the amount. And now you see we get these, but I'm going to bring the stiff down as well. So let's bring it to 0.5 and try to simulate. Now, this is too much for the pressure that we have now. Now I'm going to go and make the pressure scale a lot more. This is going to apply more pressure. Okay? Now we need to go apply the pressure even more. Now you see we're getting a better result in here. It looks like the head cushion that we expect that from that. So now after that we can go and try to add another subdivision surface to make it really smooth. And this is the way that we simulate things. For this prop. It's heavily based on the pin groups that we add can see now these point groups are not moving at all, but these ones are moving. So for now, I'm going, I'm going to just remove these. Lets remove this one as well. Now let's go back to the first frame and apply the cloth modifier. Because later on we will be doing the cloth simulation on this one. But for now I'm living there so that we know that there is something going to be gone layer on, on this. And now it's time to go and move on and work on these speakers or these earphones. And this buffer zone that I have left is for this element that we are going to add later on, we're going to have this connector that connects everything to the earphones. Then we're going to have some random wires that wrap around these. To finalize the design, now, I'm going to start working by these speakers. And for now, I'm going to just, let's see what we have here. I'm going to remove that and start to work on this. I'm going to bring the pivot exactly in the center and start to work on that. Okay, Now the first thing that we noticed is that this has different levels of thickness. The medium, small, and the later one is going to be the biggest one. So now I'm gonna do that in here. Let's bring that out and try to scale that. Okay? Like so. And then I'm going to take this one extruded, and this one we're going to extruded and just another extrusion to make the base for it. And I'll notice that this middle area needs to be a smaller. So I'm gonna go and try to take this and drag it down like so. And let's apply a bubble to make the transition between those smoother. Okay, now I'm happy with this shape. Let's right-click Shade Smooth based on 30 degrees to make it smooth. Okay, now on this one as well, Let's add another segment and try to make it a smaller like so. Let's drag it to here and we can go try to mirror that to the other side. Let's just hit Alt, Shift and x this way. And we need to set the mirror to be based on this object, this one in here that has the pivot, okay? Now we're going to mirror that to the other side. And everything is working. Alright? And later on, we will borrow the geometry from this cylinder and try to simulate this cushion as well. And of course I might take these and drag them up a bit and make sure that you do not move that in x because we have based the mirror on that X. If I move it, this one is going to be changed. I'm only going to bring that up in y. Just try to take a look. And then we're going to have a connector in here as well that is going to connect this piece, this headband to the earphones. Now let's go in and try to take this edge loop, try to scale it. Okay, now we have something more that looks like the references. And now that I'm taking a look at this one, I see that this one is a bit thinner. This piece in here needs to be more like the others. So now while having that one taken, I'm hitting Control and plus and drag it in like so, and then take this one and try to scale it. But I'm going to apply the proportional editing so that everything else works with it as well. Let's decrease the circle of radius, okay? Like so, and then try to do that one more time. But this one only on this side. Okay, now, this is working a lot better. Of course later on that we add all of the details. This one is going to really shine. So now I'm going to start working on this headphone. And we're now I'm going to disable the mirror or I'm going to apply it. The reason being is that we have to base two base objects for the headphones. I'm going to go in now. Let's go into edit mode. And I'm going to hit P and P by loose parts. It's going to deactivate, excuse me, separate them from each other. Let's bring the pivot in here. Now we're going to have to headphones made. One is this 1.1 is this one. And the reason that I separated them is that we have the base in here. Both of them are the same. And we're going to make two variations from them. And we're going to start making in the next one. Okay. See you there. 18. Left Earphone Details: Okay, everybody. Now it created the blackout and we're ready to move on to go and create this. But one thing that I didn't like about this is that when I take a look at the reference, I see that it doesn't have any curvature on this thick area. It's so flat and tapering up until it reaches the cushions. So now we could go in here, try to take this one, remove this one as well. Remove it. Looks like this one is a better shape. And of course we need to take this one and bring it closer a bit. Like so. And even this one could be deleted as well. So now I feel like this one is better, but I can take this and drag it out. Let's turn off the proportional editing and drag this one out. It looks like in here as well. You could go and let me see if I delete it. Now. Looks like who needs a bit of curvature in here. When I'm looking at that, I'm constantly pausing and taking a look, getting back and see what the design is. So now let's go and try to make it a bit, something like this. But this sphere shape could be a little bit smaller as well. Now let's do an insert and then drag it out somehow. No, I didn't like that. But instead let's take this face, insert and drag it out a bit until it gets something like this, more than 30 degrees to get calculated as different novels. And if you get some shading errors like this, it's because of some calculations, you can easily go. And let me go in here, take the faces that you want to mark sharp, and then it looks like the mark sharp is gone. Let me go. Right-click, Add to Favorites, right-click and Mark Shop. Now you see this one is totally sharp and ready to go. Let's try to take a look at this one as well. It's alright. And now I'm constantly checking to see if I liked the design or not. So when I'm taking a look, I found that this piece in here needs to be a bit bigger. Let's go in edit mode. Try to take these spaces. I'm going to scale them just a bit like so. And take this insert face and try to rotate it, excuse me, re-scale it and drag this down until the normals get calculated. Now, let's leave it be in here. Instead, we can take this phase right-click or mark sharp. And this one as well, mark sharp. But let's take these and and let's say kid, take these parts, drag it out. Now it looks like we're getting somewhere. I'm liking this design actually. So let's take this edge loop and just re-scale it. Like so. And then we're taking this one and re-scale that as well. Now I'm gonna go and take this curvature loop and try to delete it. Okay, Power BI, like we're getting somewhere. Now in order to make it a little bit better. I'm adding one edge loop in here. Let's slide it exactly two here. And you need to tap G maybe twice or three times. And then let's try to make it just about the same size as this one. Now, let's bring another one and bring this one in here so that this becomes a support loop so that we do not hit this curvature. We only take this and try to re-scale it. Here. I want to make it just like this one in here. Now let's go and take a look. Now it's a good design. When I'm comparing the two, I definitely like this one more. But this last piece in here, this one we could take and make it a bit more like the curvature in here. And it needs to be re-scaled a bit more. And let's rescale that in y looks like there's something wrong with the curvature. Okay? Now I'm totally liking this one. We might change it later on, but for now, I'm liking this one actually. So now let's do something. I'm selecting this phase, mark sharp. I'm going to correct some of the shading issues. That happened, okay, Now we see every edge that we have here is more sharp so that we get a good result. And later on we will extract the earphone and a cushion paste from here. So now for some of the optimization, I'm gonna go take this edge right here. And instead of doing that in the geometry level, who could do that in the normal map. So let's take it, I'm taking that phase shift D. And then let's go into edit mode while having that selected. Let's take it. Okay, We have it hit P by selection. Now we have that edge loop that goes all across. This is it. Now we need to add some geometry to this. We go in, in the edit mode, just select everything, Right-click and it creates a new face. Okay? Now I'm going to insert it. But before inserting, let's bring the pivot in here. And I'm going to apply the rotation and scale. And now let's do inset. Let's take this face and now insert. This one has given me a better result. Now this one, we need to add some thickness to it, and that is going to be done using the solidify modifier. We do not want any offset. Just a bit of thickness. And let's drag that in here, make it a smaller. Then I'm going to take this one as the bubble piece, excuse me, the Boolean piece and this earphone as the beveled piece, excuse me, the Host Control minus. Okay, now that we have this, let's see what happened. Let's apply the rotation and scale on this one. Now we need to add another solidify modifier to make it just like a cutter piece from previous lessons. Now, let's take a look and you see how does one cuts into the piece. So let's go take it, take this one, take the canopies, right-click, Shade Smooth, and then based on 30 degrees, it's gonna be alright. Before doing anything, let me go and try to make another panel cut. I'm going to do that just with this piece in here. Okay? And instead of doing the same thing over and over again, I'm going to enter edit mode. Just hit a to select everything shipped and D to duplicate it. And because this is a Boolean piece, wherever I move it, it's going to place a panel code for me. Now. Let's drag it in. Now that I'm looking at that he see this act, a very good panel line and a very good starting point. First, I'm doing the designs that are common between the two earphones, e.g. you see we have two earphones. I'm going to make them different from each other, but the base is going to be the same. So now I'm going to do the same thing on this one and just mirror it later. Now that I'm looking in here, I see that we have some problems with these lines. And let's go see what is happening. Let's select it. It looks like if I select everything and we scale it a bit, it will solve the issue. It was the problem. So now there's no more. The line is very good and flat. So let's add a bubble to make the details sharper. Very small bubble and some extra segments to make that really hold out in this area because I want that to be having a bit of silhouette. You see? It tries to change the silhouette. I'm not doing anything. This one, Let's leave it on the geometry side. But these ones are going to stay normal map and there are actually no problem with it. And I'm selecting this looks like there are some shading issues in here. Let's go at the way that normal modifier keep sharp. They are here still, but no problem. You could either remove this or leave it be for the cleanup later on. So I'm leaving that for now. Now this is the basic design. I'm going to duplicate this over. And I'm not going to do that using the regular mirror because the mirror is not going to bring these with it. Of course it's going to bring them, but it's going to be only on the mirror side if we apply the mirror and start to work on that, It's not going to do. So now let me do one thing. I'm selecting these Boolean pieces and then this one as the active object Control P and object. This one is the parent. Now. So now I'm hitting Shift D. Now in the location, this one has this value in x. So I'm going to make that negative to copy that to the other side. Now the only thing is rotating this hundred and 80 degrees to actually mirror that to the other side. And you see the distancing and between this one to the center line is equal to this one to the center line. And the bubble, excuse me, the Boolean moves with it as well. And it's still a separate object. Now the base is eight here. We're gonna go and try to modify the shape and change something. We're going to start, let's see what we're gonna do. And actually I'm liking this design in here. I want a diagonal cut, cut through this one. Exactly. So now, what else better than having a cube to cut there for us? So scaled by 0.1 and then a scale by 0.5 to make it small just like that. Okay, Now apply the rotation and scale. And I'm bringing that in here. Let's see. Okay, it's very boring to the object. Now. Take the cube and then the earphone as the active object Control minus k. Now, it's not doing anything good. So let's drag this one up first and then we need to do some changes to this one. So before that, let me go take this face in here. I'm going to make that the pivot so that everything revolves around this. And now I'm bringing that in here and let's just try to to 35 degree cuts. So it looks like 35 degree. Okay. This is it. But we need to move it to reveal or bring some of the pieces. Let's take the cube and hit F ray on it. So it looks like that degree didn't help at all. So I'm control zinc. Okay, to bring that back exactly two here. Now let's see what we could do. Let's rotated. But this time I'm rotating on a more refined degree. Think now, it's not doing what we want to do. Now, looks like this one is a good one. Apply the rotation and the scale, and I'm taking this one as well as this control minus. Okay, There are some intersections that needs to be fixed. I'm taking the cube and just drag it out until we rebuild this shape. Okay, this is actually good. We need to take care of these ones as well. You see, there are some floating ones in here that are not actually helping. So now I'm going to cut this one again with this one. So having this one selected, then select the cube. Click, Study two difference. Or I think we should do the other way. So let's select the cube and select the host as the active object, Control minus. Now we're good and we're seeing some minor errors. And it could be easily fixed by bringing this one in. Just a bit. High dose issues. Let's just move it. Now. I'm happy with it. Now that I take a look and see that they really stop here. The key was to bring that just a little bit to front, to cut these exactly there. And there's still room if you want to bring it to here. But we do not want to cut off this middle part that expands to the earphones. This one is okay. Let me see if I can drag this one a bit to the left to see what we get. Of course, I should take the Boolean piece, not the host piece. Now I'm taking some errors in here. So let's Control Z to bring that back to the place where we didn't have areas. Now, this is very good. This is the first cut. And now we're gonna go and make more cuts. And now I'm going to make these local. And the reason that I say local is that I'm going to borrow geometry from this. You see, I'm really liking this angle in here. And I'm really wanting to take this shape just like the way that we did for the back of the radio. I'm going to take a duplicate from this. Okay, now let's see which Boolean parts we need to remove. The first one is the weighted normals, which actually we do not want. And then let's see. We do not want these either. Okay? And then this one is the one that makes this possible applied. And then I'm going to take these two phases, p by selection. And now we are left with this piece that is exactly confirming to the geometry that we have in here. Exactly the same lines. Now I'm going to go in and try to separate this one as well. So the period in here and the pivot of this one in here as well. So now let's go back. I'm taking this. Let's just make it a bit smaller. Like so. So first things first, let's set it to 0.9 in every degree. Okay? Now I'm going to Shift D again and drag it on the x by one value. Now, let's move it on the x by nine more so that we have one in here. Later on, I will bring that back. You will see why in a moment. So now I'm taking this and now let's go for solidify modifier. And I'm really liking that the solidify modifier respects to the normals. We say it's going exactly to the normals. Let's go in and looks like we need to do some cleanups as well. So this is it. Let's try to bring this up. But before that, I'm going to go in here and apply this auto merge. When we bring some vertices close to each other, it's going to merge them. You've seen here we have 25 vertices. If I slide this one up, see now it becomes 20 for this auto merge helps a lot. E.g. this one, I do not want it. This one, double murder. See, it looks like we have a very close vertices in here. Sometimes things like this happen. Okay, now let's this one as well. Just a slide it and it's going to be, okay. Now this one. Now we're happy with it. It looks like we can take, now, it's okay. Now I'm going to take this one and move it back because we have some cleanup done. So let's take this one. I'm going to bring that back as a backup piece so that later on we can use it, okay, Shift D and move it on x by ten units. Now I'm taking this piece. Let's take the Host Control minus. Now we need to drag this back. Butt. Let's go on the normals or local. So none of them work because we have re-scaled or we apply the rotation that we need to eyeball that just in case. Now we did a cut in there. In order to make that better, I'm gonna go select it, Shade Smooth and based on 30 degrees and take the host piece and bring the weighted normal modifier down, then we calculate the normals. Now, in order to bring some details, Let's just take this. And I'm going to bring a bubble after that. Not too much, a very, very small number. Like so. Now these are running a little bit more. Now, let's take this piece and drag it. Just the way. I do not want that to be so much. Okay, now, again, deleting this one, because now we could take this one easily and try to duplicate and try to use it on the same thing. Now, let's rescale that a bit or let's try to scale it up. It doesn't matter. Okay. Now, we have the solidify, we have the bevel and I'm taking this one and making sure that the scaling is going to be alright, and then take the host piece minus. And then after that, I'm going to add a solidify modifier to make this one just like a corrupt piece that we have done. On this top part's offset. We do not want any. And this one, Let's make it a very minimum number. Now that I'm taking a look here, I do not like this design. So now let's go on the earphone and try to remove this last part. It removed it perfectly. We have this one. We could go and try to use it on one place like this. And let's try to drag it in. And then take this one Control Minus. Again, bring the ways that normals down like so. And there's a panel cut in here, which I'm actually liking. Okay, now we're gonna do the same thing on this one as well. Let's go see if there's any cleanup needs to be done. And it looks like on this one, there's not actually any one way to make sure is that go into edge mode and try to Alt, select the edge. If it's selected everything, it means that everything is good and there's no problem. Okay, now. Let's drag this one out and I'm going to make it smaller, just like that. 0.9, 0.9 and 0.9. Okay, Now let's add a solidify modifier. Just like the rest of the pieces. Again, I will add a bubble, but this is going to be very small. So maybe 0.2 is good one only for highlighting the edges. Now let's add a couple of more vertices. And in here in the shading can harden normals to make that better. Okay, Now, while having this one selected, select the earphone and done. Okay. Now we should drag this one down, recalculate the normals. And if we see some of these jagged edges is because of that bubble that we added. Let's select it. Now you see we have some jagged lines in here. Excuse me, this one. Either we need to add some more subdivisions on this one or we could fix it in ZBrush. I feel like the second way is a lot better. Now, shifting on this and make it a bit smaller, smaller than this one, and then take it away. Take the next piece. And on this one I do not want it to make it like so. First, I will bring the weighted normal modifier down and then take the Boolean piece and apply another solidify to make that cut. So we do not want any offset. And this one is going to be very small. Or let's make it 0.2, and then let's add another bubble. This is a very good base to start with. And as I said later on, we do not really need to care about these issues. Let me do a demo. I'm selecting the earphone piece, Shift D to duplicate it. And then we will go and apply all of the modifiers. Okay, Now, then again we need to hit Shift, Spacebar, clear costume normals and you see every shading issue that we have is gone. This is only for the real-time application that we have here, which could be easily fixed later on. Now I'm taking the speaker itself. Let's hit Smooth and smooth. And based on 30 degrees, it should be. Alright, so let's select this one and mark sharp to solve some of the shading issues. They're gone. And we can go and try to make the rest of the pieces. Now I feel like it's time to add that cylindrical shape and extracted or subtracted from the surface so that later on who could connect the wires to it. So I'm talking about this. So that could be easily done. Let's bring in a cylinder. And I'm sampling the normals from this one because you see the normals are exactly in place. This is good. But now we need to go and we scale this to be able, to be able to work with it. Okay, Now a bit of a scaling in here, and now we need to align it exactly to here. Okay, now, let's see where the pivot is in here. It's exactly in center. Okay, now it's centered. I'm going to take this like the cylinder and now take the object as the active one and Alton a disabled or rotation. Now, we need to find the shape. It's in here, and we need to drag it and now it's exactly in the center of the object. Okay? So now we need to subtract it by hitting Control a to carve that piece, excuse me, by hitting Control N minus. So now let's take this. And again, I'm going to make this one a cylindrical shaped, rather. This one J to join them. Now we have a loop that we can double and start to drag down. This is it. And now we should have this shape in place. So let's see. Okay, It's a very good place. But now let's go and set the shading to be smooth. And then based on their degrees. Now we need to select the host and bring the way that normal modifier down to recalculate the normals. For now, I'm gonna go shade flat, shading a little bit better. Of course, for now. It looks like a bit of reverse bubbling will help in this situation. So as always humbling link this one close and then shift an N, The recalculate the normals, and then Control V to add that bubble. We need to go and remove this edge loop. Looks like we have done something wrong. We can go and remove that. Okay, no problem. We can still take these and remove them so that we have only one phase to work with. And that works a lot better. Okay, Now we need to apply the scale as well so that the bubble becomes better. Okay, like so. And now it's only a matter of taking this piece and dragging that in to make it affect the pieces. But looks like we need to drag this one out to include this area as well. Like so. It's not that much, but it's better than nothing actually. Okay, now it's time to play some knobs and some buttons in here. And the main thing that I have in mind is something like this. We're going to carve a panel n, and I'm going to make it a rectangular piece. And let's pick up from here so that it respects the normals, like so and just drag down. And it perfectly respects the normal that we have. And if you'd go now into local mode, you see that I'm able to move that in that rotation. But if we go apply the rotation e.g. let's apply. You see now it no longer works because this local mode workspace on this one based on these values that you have. Okay, now, let's apply rotation and scale. Now. Excuse me, I shouldn't have applied the rotation. So before the Boolean, I want to make sure that this one is exactly centered in here. And we could actually make sure by selecting the piece that we want and the target piece, which is this one, and then Alt on a. Okay, Now, let's go find it. Okay, It's in here, and now let's drag it out. It's exactly now in the center. So now we need to align this perfectly to place. And before applying that, that's going to do something. Let's see if you are happy with the scale, okay, it's alright. And then now let's bring everything back. Select this one and have control and Alt to select the edge ring that goes all across. Okay, Now, then try to add some bubbles, like so. And then I'm taking this one as well. And let's add a bubble, but only 1 s. I want the normals to be captured. Okay? Now, they shouldn't goes so far. Let's take this and now the target piece and Control minus. Then we need to drag the weighted normals down. Okay, Now, we got it. Now in order to add some more detail, we can go and add that reversed bubbling that we always add. Okay, that is not so difficult. We only need to bring this one close to what we have here. Okay? Then select the edge and Control B. Add the Bible. But before that, we need to make sure that we select in the face mode and then Shift and N to recalculate it. And then do the bubble. Like so. Now let's take a look at it and you see we have some good shapes in here. But looks like there's some in this section in here. Let's go find it. Okay, just select this control plus once and then drag it out a bit. To put some difference in between them. I feel like this should already solved the issue. If not, we can go and select all of them hit M by distance. So that was too much. Let's go four. Looks like this is a good one. Let's bring everything back and take a look at the face normals. And it's allright there is not a problem in it. But instead we can go take it and try to add some bevel as well to make it more detail. Now it's not working, so leave it be just like this later on, we will smooth that using ZBrush and let's try something. Let me go back. I want to make this one perpendicular to the ground, not to the surveys. So let's go to the rotation by x and it looks like we need to make it 90 degrees. Okay? Now let's drag it out. Like so, it looks like this way we would get a better result. But now we need to go and take this piece, try get down. It looks like this is a lot better. And for the purpose, this is going to work better because I'm going to add some volume controllers and things like that. I feel like this would be a better host for them. So let's take it controlled plus, or let's try to drag this one and maybe to add some more details. Now, it's not working. So we'd be now in order to add the knobs will need to carve a place for them. So now we're gonna go bring in a cylinder and make sure that you bring perfect cylinder. Okay? Alright, I do not want to make this one geometrical piece in the final stages, I want this one to only capture some detail. Okay, it looks like we need to go and the activator or emerge because you see, when we were trying to move the vertices that are close, they get merged. And the same thing went to this one as well. See now, because we were scaling this one based on Auto emergency, some triangles and some n gowns happening in here, causing some artifacts. In these areas. Of course, we're going to fix them, but It's good to know that automation will act funny sometimes and you need to have that in mind. Okay, Let's deactivate that. And then we need to take this, bring it up in here and Control minus to carve the details for it. Okay, Now let's bring it here. Now. I'm going to take this and apply the rotation and the scale. And let's do one thing. And I'm going to do an array modifier. It's going, it's going to be along y. One. No, one isn't a good value. Let's go for two or four is better. Now just drag them in and they should work without problem. Of course, as I said, these are all going to be baked into normal maps, so no worries. This is because of the auto merge that we activate it. So sometimes you need to have that in mind. I'm going to scale that just a bit. Let's go for individual origin so that everyone scales based on its own properties and pivot. Now, this is better. Now we can go and try to bring in some buttons in here. So I've been like if I, if we go and go into edit mode and take this and try to re-scale. It. Just lets just re-scale. And I will decrease the distance to make all for being placed 1.70. This is good and equal distancing and between different joints. And let's just type them. And one scale, we'll do a good thing. Now. I'm going to do the same thing for this top part as well. So let me shift D on this and deactivate the array modifier because I want that to be perpendicular to the ground. Now, let's drag it up. And we need to make it a snap to this piece. And I want to respect the normals. So let's go in here, make it face and align rotation to target. But we need to activate the snapping as well. Okay. It looks like looks like it rotated, but we need to go and rotate it 90 degrees, like so. Then let's try to bring this n. Of course we need to go and deactivate this one. Let's disable every of those. And apply the rotation and the escape. And I'm going to bring this one in like so. And then I'm going to rescale this one because of the knobs on this one are going to be bigger basically. Like so. Now take this one, Control minus. Then we need to go and break the, bring this one up the weather normal modifier. And now we need to take the phase, bring it back based on its local. You see now we have the coordinates set to local so that it goes exactly to the same direction that we want it to be. Like. So Shift and N to recalculate the normals. Then be to add more detail. So now that we take a look, you see that we have more details. But now let's try to bring this one up, like so. And then I'm going to add an array modifier. Let's zero that out. And it's going to be in y by two units. Okay, I'm happy with it. And now Shift D again and drag it down. And I'm going to make it just like so. Let's decrease the unit to something like one. Now, 1.5. I'm just trying to find a good place for them. But we could go and try to rescale them just a bit like so. And then take it and Control minus. 19. Completing Left Earphone: I feel like we're done with this ear phone. By the end of this lesson. There are some buttons and knobs, which we're going to add later on. But for now, let's do some bigger changes. Now I'm going to go for reference and you see we have some cuts in here. And they could be easily done using the cube. And we can try to subtract that from the piece. We're going to bring some cubes and try to carve some hard surface details. So now it's shifting a bring in a cube. And this needs to be scaled way, way smaller to something like this. And then because I want to align this exactly to the center of this one because both of them have the pivot in the center. Okay. If it's not already tried to make the pivot, but be sure that there's no add-on or modifier that uses the pivot, e.g. if you are using the pivot of this one as the mirror modifier, it's going to change if you change the pivot. So you need to have that in mind as well. Now, I'm going to select the cube and the earphone as the active object, Alton a. Okay, now everything's good. We need to bring this one down and we scale it until we're happy with it. And I do not want to cut this straight piece. I want to only have a cut in this area. Okay, let's bring it up. Like so. And I do not want to go too far. Something like this is okay. Now let's hit the rotation and the scale, apply them. And I'm going to take this edge in here and try to add some segments. Like so. Let's add something like this. Now I'm going to take it and the earphone last active object Control minus to add this Boolean cut. Okay, Now let's bring this one up. The way that normal modifier. It looks like this is too much. So we can go and try to bring this up and try to take a look at it to see what we have created so far. This is good. If we want to trace the wires from here to here. And as you know, the headphones have wires to transfer data. So this one would be a good idea if I keep that for this piece as well. Because you'll see later on we're going to create some wires as well. And that cut really could be a good idea to place the wires in here. So this one is a good one as well. Let me go take it, Shift D to duplicate it. And because I'm going to transfer that along the x. And this is the whole work that we're going to do in here, is based on this center line in here. And it has equal distance from here to here. I'm only going to go in the X and try to negative the value. Okay? Now it's exactly copied over on this side. Now we need to rotate it hundred and 880 degrees. Apply the rotation and the scale, and now take this earphone control minus. And now we have the same result here and here. And this is one benefit of keeping things organized as possible. Okay, now let's go do something else. Now, I'm gonna go in edit mode. Let me bring everything back. And I'm going to take this edge and double that to add some more interest into this shape. Looks like it's a good piece. And this is definitely going to make it to the final geometry because you see it has a lot of silhouette change. And later on we will take that into geometry because normal map wouldn't go so far and bake perfect details. So we need to make sure that this one has the real geometry in it. Now, the next thing that we need to do is taking this one, remove it. That later on when we're done with this and we made sure that everything is alright. We will mirror that to the side. For now. I'm keeping this in here. If we wanted to change something, we're able to. So now let's add in a small bubble. And this is going to be too much. Again, we're going for a very small value to have some highlights. Changes in here. 0.5 looks like nude value. And now let's try to add some more segments. And then I'm constantly pausing the results to see what we have created so far. And this is a good result. Later on when we add all of the elements, this is going to really shine. But for now, since it's only raw geometry, it might not be as good as the final result can be. Since this one is live, non-destructive, we can go and edit mode. And I'm going to copy this loop of faces because I'm going to take some of them, e.g. on this curvature and try to Boolean that on the shape to add more details. Okay, P by selection. Then. Now, while having this one selected, Let's see what we have done. We have this piece in here. Now let's go in and we need to disable all of the Boolean pieces on that. Let's bring that back. Okay, it's working. Alright. Now we need to have a selection of phases. So let's delete this half site because if we were happy about the creation, we will go and try to symmetry that. Okay, now let's try to take a look at looks like these three can be deleted as well. Okay, now, I'm gonna go select all of them because now this is gone exactly to the edge and I do not want that. I want the piece to be just like an insight. So we're gonna go for an inset. Now. We have it. Let's go for a bigger insert. Okay, so now let's see if there's any problem in here, geometry wise. So it's not. Now having these faces selected, I'm going to hit Control and I to invert the selection. First, we'll need to go in polygon mode and then Control I to select this outer edge and then hit X to delete it. Now we've got this piece and we can try to cut this into the geometry. So for now, let's go add a solidify modifier. This is too much. Let's set it for complex because now this has huge amounts of curvature. So if you set it to simple, okay, both of them are doing the same thing. Now let's disabled the offset and bring this one in just a bit. Okay, like soap because later on I'm going to go and break this onto normal map. I do not want this to be real geometry. So now let's add a bubble. And it's, it has already stopped in here. So we do not need to do anything else. But the thing that we can do is applying some more bubbles in here. And then take the extra piece in here, and then the earphone as the piece control minus. And then try to take a look at it. And it looks like this is a good idea. Now we need to go and drag that out to rebate the normals for now. Okay, Now, let's bring everything. Looks like the bubble has gone too far. Let's take the extra piece and in here we can go for a very, very smaller bubble. Let's remove some of the segments or try to increase the bubble. Like so. It looks like removing the bubble. Let's keep it. It's not doing anything. Now, I'm going to have some speaker lines in here. If you take a look at here, we see that there are a lot of speakers to let the audio out from these headphones. So now I'm going to do that. And then instead of recreating that, we're going to go borrow the geometry from what we have already. Let's bring everything back. I'm selecting this Shift D to duplicate it. And then I'm going to isolate it and then start working on this. So solidify and the bubble gone. Now we have this piece that has a perfect curvature. So let's go try to add some segments in here. And I'm trying to make these as good as possible, okay, like so. Now we need to subdivide this. Let's go in here for subdivision surface. And I'm going to set the logarithm to be simple because I do not want to offset these edges. You see this one tries to round them, but this one, it keeps them in the same place. Now, let's disable optimal display. And now you see because we have quotes everywhere, it's very good. And we can go trying to pump up the intensity. Let's try to take a look. Let's add one more. Okay. Let's add one more. Because now we're going to go apply this and add a POC. And what Polk does is converting these two triangles. And it will offset the edges to be in this direction. Or before that, we can go for decimate as well. And this decimate has couple of options. And the one that we're going to use is this on subdivide. This is just like the subdivision surface but reversed. It's going to take it and if it's qualified perfectly, It's going to remove one set of edges, causing them to be. In a situation like this, you see now they are diagonal instead of being just perfectly aligned. Now, this is okay. Let's try to hit F r0 and apply the rotation and the scale. And we can go on the edges and try to bevel them. But one way is to bring in the wireframe modifier. It's going to take the wireframe on the geometry and convert that basically to a wireframe thing. So we need to go for a very small value. Now this is so much, we need to go smaller than that. Okay? Now let's say it takes the wireframe and tries to give it a shape. Let's go even lesser. And try to take a look. On this side. The smallest non-destructive as well. We can go and try to change it to whatever that we want. Now, let's try to make it a bit more bumped up, like so. And now I'm telling you that this is non-destructive because we can go and try to bring in another decimate. Let's bring it up on sub-divide. Now we can try to make these houses bigger if we wanted to. E.g. something like this is okay. It's matching well to the curvature of the geometry. So now we can control the amount of houses that we have here, and then we can control the thickness on this one. So let's go for a bit bigger of a result. Now. It's okay. And I'm really liking this result in here. And I'm going to keep it only on this side. I do not want to mirror that to the side to make it repetitive mesh. So now it's good on this side. And I think overall, I'm happy with this ear phone, except for the fact that we need to go and bring some knobs and buttons in here. So let's go for the buttons first. We need to bring in a cylinder hold down Shift to make it a perfect circle. And this is not going to be something so complicated. It's going to be only a simple circular thing that maybe even do not keep the geometry. So let's add a bubble, apply the rotation and scale, and it's going to be very small. Now, add more segments and then shade smooth based on 30 degrees. Now that I'm taking a look at here, I see that we could take this one on to the normal map. Instead of keeping the geometry, you see, this one doesn't have a lot of curvature change. We could keep it. Now let's try to duplicate it in here. Later on when we do the text string inside painter, we will add some text and some extra detail on this one. Okay? Now this one is on a good place. It looks like we have couple of plum in here, so removed. Now the detail is improved. And now we can go on this side and try to bring in the cylinder. Again. Make sure that you hold down Shift and then release the mouse to bring it in. For this one, I haven't really decided that if I want to make it a geometry called peace or breaked into the normal map. For now, let's shade smooth then based on 30 degrees. And then add a bubble, a very low number, and try to increase the segments are the normals. Now let's do a new design on this one. I'm gonna make it something like this that has a handle to control the amount of sound. Let's bring the wireframe and try to see anything. Now we need to connect the vertices together to create what we want. Okay, now let's try to connect this one to this one. And this one to this one. Now this one can be connected to this. And it's simple. We simply drag this one out and go in vertex mode and try to bevel this only one segment to keep the geometry. Now since this one has a lot of shapes, I'm going to actually make it part of the geometry. Rather than baking that in a normal map, you see it has a lot of shapes. So we're going to keep it. And now let's go do something for these parts because later on, now let's leave it. Later on we will add the texts on these parts that we do not have any geometry. For these, we will do the text on the inner side. And for these ones we will do that on this outer curvature. And we will do that inside painter. Okay, Now, let's copy that to the side and try to rotate it to make it a bit more varied. Okay. Like so. And then another one in here. Now we can go and take these. I'm going to go in the individual origins so that the rotation that we do is based on their origin, not based on the bounding box. So that we get more of that Boolean that we did before. We want this one to be baked in normal map in a better way. Okay, Overall, I'm liking this design. And it looks like we could, we could finish that by adding some Boolean pieces in here. So that later on who could connect the wires into. Let's go, instead of creating new geometry, I'm going to go in here like this, Shift D and then p by selection. Get a duplicate from this piece. Okay, Let's see what we have done. Let's go back. It looks like we need to Control Z because this is the Boolean, please, we need to take the other piece, which is this one. So I'm controlled zinc couple of times to go back to there. And this is the piece that we need to take. We do not need this modifier. And let's rotate that 90 degree. So I'm going to keep one copy from it so that later on I could use it on other places as well. But for now, I'm going to curve it in here. Okay? Now, drag it down so that it captures all of the curvature. And just I'm going to drag it down. And this needs to be way, way smaller. Then Control Minus. Okay. Now, in order to make it perfectly mirrored on this side, I'm going to add a mirror. So the shortcut that we did is Control Alt, Control, excuse me, Alt Shift and x. Okay? Now the mirror is going to be based on this object. Let me select this and say it's now perfectly mirrored on that side. And later on, if we wanted to add more details to this, perfectly can do that. So now again, we're going to take the speaker and bring the weighted normal multiplayer down to capture and recapture all of the normals. Now, I'm going to do the same thing on this side as well. I want that to go all across the circle in here. Let's Take it shift D to take a duplicate. And then I'm going to activate your snap. So we have it from the previous lesson. This is still activated. So we need to go to Face project, set it to active, and make sure that the project individual elements is activated. So it's not doing what you wanted to do. And the reason is, yeah, the reason is that we didn't apply the rotations. So now let's go apply the rotation and the scale as well. Now this should perfectly get aligned to these phases. So control minus. Now we need to do one thing and that is bringing this and try to scale it out a bit to recapture the face. First, deactivate the snapping mode, and then try to drag this one out so that we capture more of the details. Like so. Then I'm going to make it a smaller bit because this is going to be repeated so many times and I do not want it to be so pronounced. Okay, Now let's bring it on this face as well. Take it and just drag it. Now it has snaps perfectly on this face. So let's drag that down. And because this is a boolean object, it's doing the job perfectly. Like so. Again, now we need to copy some instances from this. So let's do a copy. I'm doing Shift D in here because it will do, it will be a lot easier to do that. Now, I'm going to rotate that around this object. So you know how we do that. First we're going to take the target object, and this is the pivot of the target object. Now we're going to bring the 3D cursor to this period. So we hit Shift and S and then bring the 3D cursor, which is this one to select it. Now, this becomes the 3D cursor, and now we're selecting this object. Now we need to offset its pivot to be around here so that it rotates on a radial manner around this control alt and q. And the pivot point is going to be the 3D cursor. Now it's around here. Now let's try to rotate that. And now you see everywhere we bring this, it's going to be based on that face. Okay, now, let's shift D. Now, let's rotate that around x by 45 degrees. Okay? Now I'm going to do the same thing. Some more times. Shift the rotate around x by 45 degrees. Rotate around x by 45 degrees. And let's take these two. Shift D rotate around x by 90 degrees. It looks like there are two more needs to be copied around, explain 90 degrees. Now we have an equal distance in-between all of these. Of course, we can take this and rotate it once around x plus 45 degrees. Okay, now, there's equal distancing in between these. Now I'm going to take all of them and exclude the speaker from the selection. Now let's see which one is the pivot. I feel like this one is the one that is said to be the Boolean object. So now I'm selecting all of them and make sure that this one is the active object. It's in light orange. So now Control and J, all of them are attached to this. Now you see, because we have attached them to the Boolean piece, all of them are now part of that Boolean. So now let's make it a bit easier on us. I want them to have a bolt on such areas as well. I might not do that on this part, but I definitely want that to be on other parts. So now let's take it, I'm taking this. Let's bring the pivot to be in the bounding box so that every object shows its own pivot. Now, I'm going to bring the center of the world in here. This is the 3D cursor and that is the central of the words for now. So I'm hitting Shift and S select that. Now, everything that we span is going to be exactly in the center of this face. Okay, now I'm going to go Shift and a and then bolt. Now let's see. Of course we need to re-scale that. And let's see what we could do about it. So it looks like the first one is the best one. Now, this is a spawn exactly on that point. I'm going to scale that by 0.05. X is 0.01. It looks like we need to scale that even more points to 0.5. And now let's try to scale that like so. And let's isolate. And then I'm going to re-scale this. And the reason is that I'm going to make this one the children of this Boolean piece so that every time I move this one, It's going to be moved with it. But this is only going to be applied as a Boolean and this one has the extra detail that shows up on that. So let's bring that to here, like so. And to optimize a bit of geometry, we can go in here and try to remove these faces that we never actually see. Like so. Let's it down a bit like this one. Now, I'm going to select the bolt and select this Boolean piece as the active object because I want this one to be the parent. But before that, let's bring the pivot in the center. And now let's select the bolt. And this one has the parent Control P to make the parent. So this one is going to be parents and I'm going to make it keep transform as well so that the rotation and everything on this would be applied to this one as well. Now let's see how this one works. I'm going to shift the to take a copy from here. Let's take the parent, drag it out. You see it moves with it. Okay, now let's go back. Now let's go back once more. I'm going to take the piece in here and rotate it. Now, let's say that we want to Boolean this one out in here. Simply take this and when you take this and rotate it, you see now it creates the Boolean alongside with this bolt upload on it as well. But this one is going to be the Boolean, and this one is going to be the extra detail that we add there. And we no longer need to go and reapply this bolt on the pieces that we have, this geometry. So it looks like we need to take this and bring this one in. Looks like we have some extra copies in here. Okay. This is it. Now. We can go e.g. take these to copy them. Just looks like we need to repair them again. So Control V p, excuse me. And then Shift D. Take this move it, and now this one moves with it as well. So let me bring them here. Make it a smaller, this one gets smaller as well. Then I'm going to add some extra details by cutting these bolts in here. Now Control minus on the post piece. And we need to bring the way that normal modifier down to recalculate the normals. Again. Let's take the piece and try to bring that down to capture the details. Okay, Now, this saves us one extra step of saving geometry and saving some extra work. Okay, now let's go back. It's like both of them Shift D to duplicate and then. Let's try to add some details to this part and this part. Alongside in here. Now take the Boolean pieces and this one as the active object, then Control and J. So all of them get applied on the Boolean. So it looks like we have done something wrong. So let's go. We apply the Boolean individually. Okay? This one is better. Control and j, and then this one, excuse me, control minus Control. And J wants to join. Some extra geometry and some extra length to work with. We can go try to put the same details on these sites as well. That makes sense. Okay, let's take this and drag it down just a bit. Now shift D, take this and drag it down. One more way to add such details would be to bake this on a flat plane and make an Alpha from it and apply that alpha on these on ZBrush. And that way you wouldn't need to do anything on the lender side that requires a bit of baking. But it will save you a lot of time. And the workflow would be something like this, e.g. let's copy this and open a new scene to explain that. So we go for a general, let's paste this in and just bring that to such place. So now you see, every time we tried to take a look at this one from above, we see such a detail. But what happens if we go and try to give some details to this one, e.g. let's bring this. And as far as I'm concerned, this phase is reversed. So for baking, we do not want such a thing for Blender. It's okay if you want to make a Boolean, but for baking this one, this wouldn't help at all. So let's Shift and N. Now the faces are good. We can go now and try to take this face. And then try to insert a bit and try to bring that down like so. And now Shade Smooth and shade smooth. This one based on 30 degrees. This one as well based on 30 degrees. Let's add a bevel to make them more bipolar looking by adding some segments. So let's bring the threshold down to capture all of the details like so. And then the same thing on this one. And copying the modifier, this piece. Control an L. Copy modifiers, okay. 30 degrees. If you want, you can go and apply a subdivision surface to make it more high poly. Okay? As I said, we do not want these phases in there. So we go at one loop around this and try to bring this down like so. Now if we take a look at it from above, you see that we have such a detail. Just add a subdivision surface to make it more high poly. And you need to consider this one as the high poly. And then a very simple plain as a low body. So let's bring this down in Z2 revealed. From that, we need to have this one captured. Okay, now you see if you bake this high poly detail into this plane, we would get something like this that is actually detail, the hard surface detail. And then we can go and try to bake that either in substance painter, designer, or whatever program you have. And then it will give you a black and white mask that is based on the height of this. So this one, this peak gets the whitest and these valleys or the blackest. When you add that alpha, we can go in here, tried to take a look at that from the mat cap view. And if we go in the normal map you see this is something like that. It's an extra detail that you bake on a plane. And then apply that on the geometry inside ZBrush or even inside Blender sculpting mode. But for now, I feel like we're not using this technique, but it's there and you can use it. So back on our business. Let's try to copy this 11 time or take this whole thing and try to copy that one time. And I'm bringing that one in here and try to add some very small details in here. So we need to bring this one in like so. And then take the Boolean piece. Let's hit F3 so that it becomes the wireframe so that we can see what is going on in here and how much of the Booleans piece is getting carved into displays, self-control minus perfect. Let's see what we have done so far. It's a very good detail. Now, I'm mirroring this side, this one to this side as well on the Y. So Control Alt and Shift and x mirror. The mirror is going to be on this object. Okay? Then this one as well. Let's mirror that. Again on the y. And the mirror object is going to be this one again, it pays that exactly on that place that we needed. These are small details will really make that up a little bit more. Later on. We will bake all of these in the normal maps. Okay, like so. Now overall, I'm happy with this one. And I feel like we could leave this in this lesson, try to work on this piece in here to complete this one as well. If we had an idea, we'll come back and try to paste that on this earphone as well. Okay, see you in the next one where we go and try to start adding details on this one. See you there. 20. Completing Right Earphone: Okay, everybody, congratulations on finishing this earphone. And now we're gonna go and start to detail this one. But before that, I found out that if we go on this one, select this face and try to give it a small bubble. It will be a better thing. I feel like it will catch some more highlights in here. Of course, if we want, we can go try to take this and bring that out in Z. Or before that, let's go Control Z couple of times to bring that in the same place. Then we can take this, bring that more towards the center or to the right side. Add a bigger bubble. Okay? Now this one's a lot better. And let's see the actual amount that we did on the bubble. Control B once more. Okay, now we have the width of this specified value because I'm going to do the same thing on this piece. Take this control, be applied a bubble that you want, and then we need to pay back the same value so that they both get the same Boolean design, excuse me, the bubble design. Okay, now for the first object, we need to go and mirror this to the side. It will be easy. I'm not going to mirror. Instead I'm going to copy that. So Shift D to duplicate it. Then, because we are going to move that along x, we need to reverse this value by adding a negative in here. And then we need to rotate that. It looks like if we do a mirror, it will be a better idea. Now, let's shift along this. It's going to be along x. Now, let's make it based on this object in here so that it pastes it exactly in the same place. Apply the mirror. Now, I'm going to go select this one and make it separate by selection. Now we have this one in its place and this one in its place as well, but pivot needs to be brought back to here. Okay, It has already that double and then it's going to be the first bubble that we apply on this piece. And we're going to copy some more Booleans on this side as well. So now let's add another mirror. So this one is going to be along x as well. So it's doing the wrong thing. It was along x, but we need to go apply the rotation values to work properly. Okay, now again, another mirror Alt Shift and placed on x, it's going to be, and then the pivot object is going to be this one again. Okay, now we have these in here. Then we can go try to apply the mirror modifier. And then in here, we can simply try to shift the portrait ATP by selection. Okay? Now we've got it. Then take this control minus these are the shared thing in between this one and this one. It looks like these pieces could be mirrors as well. I'm going to manually shift D on this one. Let's bring them in. Like so. Then apply the rotation and the scale and then take this one Control minus to add the Boolean. Now let's work on this part, which I'm actually going to leave only the sensor part. We'll move this top and bottom part. And I'm going to try to do such a design. Okay, Let's go bring in a cube and a scale that by 0.0, 0.001. Okay? Then try to drag it in here, and we need to scale that on the degree that we want. Scale along y. Let's drag that out. Then. We need to apply the rotation and the scale. And let's see, let's see if we can scale that along z as well. Then apply the scale and rotation. Since this one is going to be completely mirrored to this side, I'm going to create a mirror. This time. The object is going to be this one and make sure that the pivot is exactly in the center. So it looks like we have done on the wrong. Let's go on Z, okay? Now let's do one thing. I'm going to take this edge in here and try to add a bevel. Like so. And then just drag it out, select this control minus. To paste that in. I'm going to make the design of the headphones a bit different so that it causes more challenge to solve and we get a totally new design, by the way. So again, I'm gonna make a speaker piece on this top side and bottom side. It's gonna be just something like this. So let's go back. I'm going to Shift D on this one because I'm going to copy the base from here. Okay, now, let's apply the Boolean, this one as well. Let's apply all of the Booleans. Looks like this one isn't working. Then we need to take this face all the way to here. Like so and maybe this one as well. And we will mirror that to that side. No problem. So Shift D and then p by selection, and then rigor. We're going to remove that. Now, we've got this piece. Let's bring the pivot back to own place. Who got it? And now let's apply the scale and rotation as well. Select everything, hit, Insert, and then try to manually re-scale this. Because we have some vertices that are so close to each other that if we try to insert too much, they're going to intersect. It can now control an I to invert the selection. Now we got a smaller piece from the same thing. Okay, now again, the solidify modifier, Let's set that to complex. Know both of them the same thing. We do not want the offset. And this one is going to be very, very small value. And let's bring the offset just a bit. I do not want to make this one a geometrical piece. Instead, I'm going to rely on the baking on a normal map. So now let's take it and this one as the host piece control minus. Okay, it looks like we can go a bit further because this one doesn't have any shape at all. So we could do help that by bringing in some of these details. Again, I'm going to take this and remove this boolean in here. It's not helping at all. So now I'm happy with this Boolean. Let's take it. And I'm going to mirror that along z. Okay? I'll shift and x along z. And then this one, the same speaker is going to be the mirror object to cut this side as well. Okay, it looks like it's not taken effect and we need to flip that. It's not working for some reason. Let's take this one. Looks like the pivot should be centered, okay, Alton S, Okay, You brought the period back. Alton S. Now, this should be affected. The reason that it's not working because I have the activated the symmetry modifier. It's very important that when you are going to mirror them alone, an object makes sure that the pivot is exactly centered. Okay? Now, these two are working perfect. And now we need to make a cage from this, just like what we did on this site in here. Okay. Now I'm going to take this one Shift D to duplicate it. And I do not want to solidify or the mirror modifier. Now, the one thing that we need to do is taking these points and joining them together. Like so. And then take this one as well. On this one we will go try to cut exactly along z and done. Okay, Let's see what we could do in here. It looks like there's a lot of work that needs to be done on this part. And instead of going and trying to manually subdivide this, which takes a lot of time. I'm gonna go and select, select all of these Middle Ages. Then Let's hit Control X to dissolve edges. So does it dissolve edges, but it leaves the vertices at the same place. Or let's bring them back. Now, let's go in the polygon mode or edit mode and try to add some segments. And here it's 19, let's make it 20. And the same amount could be done in here. Let's make it 20. Okay, now, what do we need to do is applying. Or connecting these edges. Like so. I'm going to pause and get back to you when it's done. It's simply just taking two vertices and hitting J to connect them. We did it and now let's take this one and this one, Control J to join. And now there are some vertices that we could simply delete, hit X to delete them. This one as well. Now this one could be joined by this mercy, and then this one could get deleted, delete, this one, delete it as well. And this one could be joined to this one. Okay, Now, let's see if we could subdivide this. Once. We need to disable the auto smooth on this, it looks like it's not. It's working. No problem. There's a problem in here and that is because we have a big angle in here. So now I'm going to select this one and try to slide or take this one at the last control one to join them all to there. And then this one is okay. Now again, we're going to bring in the wireframe. It's chaotic. So that's a very, very small number. And this is it. Let's bring in another one. It looks like we can go in here, try to add one more subdivision. There's something wrong in here. Let's bring everything back. Now. I'm hitting Control V and V. Add some more segments to here. So now that becomes more chaotic even. So let's take all of these phases above and remove them. So no problem. Okay, Now there's some empty space in here which we can go and try to solve easily by taking these and try to extrude them up. We can like so now we have a better result and it's all based on cubes. Okay, it looks like we can go something like this and then try to scale that alongside. Why bring that up again? Okay, this is the detail. And now let's drag it in. Just like so. Try to re-scale that along x. I do not want any empty space in here. So let's hit it too simple, okay? Now this is better. So there are some problems in here, and that is because, I believe it's because of this set of edges in here. So now let's see. Let's go back. Now. It's much more manageable. There's still something wrong in here. Let's bring that back. And this one needs to be welded with this, and it's all over again. But let's take this edge loop and try to slide it up so that there's a bit of distance in between them. Now, we can say this one and remove it. No problem. This is all going to be baked on the normal map. So why should we care too much? Then we can drag that down a bit and done. Okay, now let's take it. And I'm going to mirror that alongside Z, Alt, Shift, and x. Okay? Now again, this earphone is going to be the mirror object. Now let's see why is causing the problem that's lipid, okay, solved. Now let's do one extra detailing on this piece because I'm going to make this one's simpler than this one because this one is simply has all of the controls and this one should be simple. At least as that is the design that I have seen in a lot of the headphones. Okay, I'm taking this Shift D to duplicate it. And p by selection. Let's go back and then take it. Looks like this one is here by accident. Okay, now we need to disable all of the modifiers. Then take them all, try to insert Control I to invert the selection. Now, we can use this to add a cut, but we need to disable these polygons because we have an extra detail that we need. So now let's apply the rotation and scale and applies solidify modifier. Let's see. This is too much. Okay. Now let's take it on this one as the host object. Now it looks like this. Whereas the weighted modifier, this is the way to normal modifier. We can go take this one. You do not need an offset. This solves the issue already. Let's try to add more detail like so. Now this is good, but can go and add one more solidified to make this one a cut. Let's set it to complex first. The thickness to a very low number and the offset to zero as well. Now this one is one extra detail that we added. Then let's go in, I'm going to take this piece. Let's add a segment in the middle. So now I'm taking these two right-click and bridge edge loops. It creates one in here. Let's go back because I'm going to confirm the edge loop exactly. This curvature that we have. I don't know why this one converted to a triangle. Now, let's disable all of them. I'm taking this removed and done. Now. Three, looks like a good value. So now let's go back and try to bring them up. Now let's bring this one up and these two up as well. Now it has this part as well. So let's bring the solidify. Then go in edit mode, and let's see. Let's bring everything back. Okay? Just try to bring them up so that the curvature gets changed until here. Now you say it loads to here and continues. Now later on, we're going to fix the normals. Do not worry. Let's see what happens if we apply the normals. All clear normals. This is it, but it could be improved a lot more inside ZBrush. But the last thing is that it's close to here and goes all across. And now it looks like this one has become non sharp. So let's go in here. Mark sharp on this and on this one as well. Now if we go back here, so now this gets rendered. Now, I'm happy with the design of the left ear phone as well. In the next one will go and try to make the connector that connects this handle, this headband, these. And then one final thing that we do is the cloth simulation to make the cushion on these earphones and then this headband in here. Okay, See you there. 21. Making The Connector: Okay everybody, Now we're ready to go and create this connector piece. So let's go take a look at the reference and we're gonna go for such and look. And then when you made that, we made sure that we create some wires that go around. And we will connect this piece too, will connect these earphones to the head band in here. Now, one way to clear some of these ugly shadings is that if you remember, we took this geometry exactly from the piece. We took it from here. And you see there are a lot of overlapping edges in here. If you take the Boolean, you see we have edges in here. And if we go on the host piece, we see that again, we have edges in here. If we bring in the wireframes, you see there are a lot of overlapping vertices. So now let's go back. I'm going to take the Boolean piece, which is this one. And if we take this because the pivot is exactly in the center, if I take this and try to rotate it, offset it just a bit so that there are no more overlapping edges, the shading would be a bit better. So we're going to rotate that around x, x. And now let's rotate that by five degrees. Okay? Now, because we do not have, we no longer have any overlapping edges, the shading is much more, better. No more of that are affecting. Okay, now, we'll have some ugly shading issues in here. To fix them, we can go try to add a couple of vertices, and let's take this one, slide it to here, and then take this one, slide it to here. Now if we go back, now, it's not doing anything. So let's go in and try to remove them. For now. This will do the purpose. And one more way to solve some of these issues would be to add a lot of subdivisions on the base mesh. I mean this one. So now we're gonna go into edit mode. The problem area was in this area. So Control R to add a lot of subdivisions and add so much. So now you see the shading is a lot more clearer. That's looking a lot better because now this is the high poly piece. But since we're going for again, we're going to remove these vertices. Now let me activate, deactivate this second solidify modifier. Is it this one tries to add some volume to this. I'm going to deactivate it. Okay? So that's one will do that. It has some degradation on the level of the geometry. Now let's start to work on the next piece. And of course, another way to save some geometry for yourself and save some shading issues while you're working on the piece is that you can go try to use a very, very simple mesh, e.g. now that we have this one, is it this much has a lot of complexity. But the whole thing that it does is cutting the geometry from this side and this side. Okay, now let's go on the host piece. And I'm going to deactivate this one which looks like is the latest one that we added. Okay, Now let's take this one, hide it, and we no longer have anything in here. So that whole project could be done using a very simple mesh. So let's go bring in a cube scaled out by a very small number. And I'm going to roughly match the size of this one. Okay, Let's bring it down. And I want that base, like so. Okay? And that we should apply the rotation and scale. And we have couple of scenarios. One of them is taking the Boolean piece and try to match the curvature. And the other way is to totally ignore that and try to place it just the way that it encompasses the whole thing that you're going to create. Okay, now we've got this. It's surrounds the geometry around it. So it looks like we need to re-scale that a bit on Z. Okay, on here, it's okay as well. Now it's perfect. Apply the rotation and the escape. And now this is going to act as a Boolean. So let's take this one and the host piece control minus. So now it removes anything. We need to drag this one up. In order to fix it. We can go in here and try to bring in the solidify modifier. Again, I will see it brings some of the geometry bag. So let's set it to complex. Then we can go offset to zero and add a very small number. Now you see we have a perfect cut in here without actually having any shading issues and the geometry is gonna be much, much simpler for later on that we will move it because this is going to be baked on normal map. But there's one problem with this one. And that is, this one connects this piece into three pieces. One left piece, one middle piece that holds the Boolean, and one right piece. Because you see, if we zoom in, we're able to see the background. And it means that now this piece, if we take it and apply the Booleans for later on. For later usage, Let's remove this because we're no longer using that Boolean. Let's do something like this. Now, if I take this piece, you see now this is a separate piece. And for the human being, we need to take care of this one as well. It might require a bit of more steps, but the shading is going to be alright. So now I'm gonna go in here. Let's see what we had there. I'm going to hit Alt and H to bring that geometry back, which is this one. Remove it because we're not going to use it. And then in here, the Boolean that is red, we're going to remove that because it's not going to act on it. It doesn't have that Geometry. Remove this one as well, and take a look at this. Now, the shading is a lot better. And if there's something very minor engineer, it doesn't matter actually. Later on that we add the Boolean, excuse me, the bubble on this, this is going to really shine. E.g. let's add the bubble after all of them are the normals. No, let's not do that. And geometry clamp over lap. Let's remove it so that the bubble goes as far as it could. So now 10 cm is too much, 0.2. Now, we have some very, very slight and soft edge that would bake perfectly inside the normal map. And all of these are going to be done inside ZBrush. So let's see what we could do. Let's remove this and the shading that is in here, we can go in the main geometry and let's bring everything back. You see now it's because of the intersection that this one has with this Boolean is we can take it. Let's take everything. And now let's add a bit of a slight, but not so much that it distorts the curvature too much. Okay, now you see the shading gets a lot better. It will just hurt the curvature itself. And now I'm going to keep that. Let's leave it be because later on this is going to be removed and deleted. Let's see if I can take the same cube Shift D, and I'm going to bring that in here. So we need to go and remove the negative to duplicate it exactly on here. It already has the solidify modifier, control minus. Okay, Now you see the cut perfectly done in here. And it goes through a very good one. So we need to go and bring the way that normal modifier down to recalculate everything back. It looks like there's some problem with these ones in here. So let's apply the mirror and say This piece Control minus to carve them in. Again. This one is not showing up. Let's see why that is. And I believe that if you move it a bit, it should work. Alright? Okay, now, it's doing a good job in here. I'm happy that these problems are carrying so that we can troubleshoot what is going on and maybe fix some issues. So I'm going to base my base map design of this one. It has a cube shape and with some circles being boolean in the center. So now let's go see what we're going to create. But one thing that I noticed is that I'm filling this one doesn't match the scale that I want for these headphones. So we can go and try to rescale this already to 0.9. And this one seems a bit more reasonable. Let's Control Z and scaled by 0.8. Now, this isn't. So it looks like the scaling by 0.9 is gonna be a better value. So then let's apply the rotation and scale. And I'm going to spawn the cube on here based on these, and try to model based on that. Okay? Now, drag that out. But I'm not going to work in this situation. Let's try to make this 190 degrees. First, I will try to make the things. And then maybe after finishing, we will go rotate that match the normals. Or we can go and try to make it the way that it is and make something that doesn't actually follow the curvature to add some contrast in this area. Okay? Looks like this is a good design in here. Let's apply the rotation and scale. And now for a starter, I'm going to take this piece in here and try to cut the piece exactly onto this one. So Control minus, it looks like I took the wrong piece. I exactly talk. This one that doesn't have this backside. Let me see this one. Then. This piece in here, control minus. So it's the right piece. But because we need to hit a three on this to bring the geometry back, it's going to be like that. So now I'm having this geometry in here. Later on we'll improve the design. But for now, it's okay. I'm going to create the illusion that this headband goes into here to be stored or something of that nature. Okay, now, I'm gonna take this one and bring another cube. I'm trying to make a design. And I'm mostly free styling. Then rotation and scale. I want to align that exactly to this to make sure that it's exactly centered. So I'm going to take the piece that I want and then piece that we want to align it to and then alter and a, okay, now everything is aligning perfectly. So Let's hit a three to find it. Drag it out, and then take this kid up 32, bring it back. Okay, now this is exactly in the center. Now I'm going to take this and make it a Boolean. So this one again, Control minus, and then we can take this Boolean piece and drag that back. And maybe increase the scale to reveal this back side, front side. So now I'm going to take the corner pieces in here, like so, and then do a small Boolean, excuse, small bevel, maybe, something like this. Now I'm noticing that this cube in here tapers down as it goes to the left side. So let's go make that one as well. Just select these, try to scale them in Z, and you're good to go. Now, in order to reveal more of this headband, I'm taking this piece and try to scale that in moist so that we can see more of the head band happening in here. I'm going to give a bit of design to this one. So now I'm going to take these vertical edges and then try to Boolean to make the shape a bit more interesting. Then I can take the piece shade smooth based on 30 degrees to make this move a little bit better. And then because we have a lot of Boolean pieces on this one, we can go bring in a normal modifier to make it a bit better. That's it, keep sharp. And to save some geometry, we can turn off the first Boolean. And it makes the design better I feel, because overall we're not able to see what is going on in here. So maybe we add that later on. But for now, I decided to turn it off, but I'm keeping the geometry itself so that later on if we want it, we can go and try to and bring it back. So again, I'm going to Shift D on this and try to scale that in. Now I'm going to carve a bit of the geometry on this side. Control minus, and then let's apply the rotation and the scale. And I'm going to mirror this alongside to this piece, to this side as well. Because I'm liking the design and I feel like we can go and try to invest a bit more in copying that to the side, ok, Alt, Shift and eggs to mirror that on this side. And the mirror is working perfectly because the pivot is in the center and it's working. Alright. So again, let's take this one. I'm going to take this edge in here and apply a small bubble, but it's going to be having only one edge. Like so to make the highlights better. And I'm going to do the same thing on this side as well, controlled B, but let's make it a bit different from the bottom piece. This is already good. In order to pass the words in because there are some wires in here. I'm going to cut a cylinder from this top side that goes exactly to bottom side. Let's see, I'm talking about these yellow ones. You see they go in the Shape and then Get back and get connected to the headphone. I have carved a place for them in here as well. They're going to follow the same route and people logged in here. So now exactly, take this one, bring in a cylinder, try to carve the shape hold down shift so that it's a perfect cylinder. And you're good to go. Make it a smooth based on 30 degrees. Okay? There's looked like there are some rotation values in here. I'm going to zero all of them out. And just bring this one in here and try to re-scale this like so. And then boolean like always and bring the way that normal multivariate down to recalculate the normals. Then I'm going to mirror that to the side as well. So take it, it's gonna be a long way. Okay, now we need to select the mirror object. This one looks like we need to turn off the slip or bisect. Okay, we've got that design in here. Now the wires can be placed, we can play some of them. I will do that after I made the design complete. And we wanted to symmetrized that to the other side. Who will do that? Now, I'm going to take this polygon in here and extended a bit diagonally. So while having this one selected, let's go into edit mode and just take this polygon because that is non-destructive and it already has a normal. So if you hit a, it's going to be along that normal. Then we can do a simple bubble in here to make the normals catch a bit better. But now we do not see that cylinder that we carved n for the wires. So we need to go take this cylinder and try to scale that in Z, make the piece cut out better. So just try to drag it in. Like so. Now we have it. The shape is already a lot more interesting. And in order to make the profile of this piece match this head band in here, I'm gonna go try to scale that in x. And because that is non-destructive, it's keeping everything. So now let's see about this one. It looks like we need to do a bit of rotation on this piece, on the cylindrical piece. Okay, like so to make sure that it doesn't distort the edges. Let's go rotate them in y just a bit, like so. And then let's see what we come up here. It looks like we need to go try to add a vertice in here. Then take these and drag them back so that it has a curvature to it. And it doesn't distort the edges as well. And in all of the sides, it's doing a good job as well. So for now, I'm happy with it. And in order to make the other side, I'm going to shift the on this and then apply all of the geometry. So now we have a destructor piece that we can mirror that to the other side to make the wires. So I'm taking this one and try to add a mirror to this side. It's going to be along x and the period is going to be based on this one. Okay? Now what exactly expound on this area, which I'm happy with. So now let's go try to make the wires, and it's going to match the same curvature as this one. So I'm gonna go try to bring in a curve maybe that we can play with. So let's bring the spawn area to the center. Exactly. Okay. Now everything that response is going to be based on this, zeros, zeros, zero. Then it shifts and a, to bring either he can go from the Curve menu, we can go from the mesh. So I feel like going for the curve and a Bezier curve would be a good result. So let's try to re-size it, then. Rotate that by 90 degrees. Okay? And then we got it. Let's place it right around here. So I'm going to scale that along x again, 180 degrees. And let's apply the rotation and this k, Okay, now it has some points and some handles. If you take the point, move it, it's going to move and it's going to produce a smooth results. If you take the handle, you can try to change the curve of that point. Okay, I'm taking that one, I'm bringing that in here and just select two points. I'm going to add one extra subdivision in the center to control it more. So having those points selected, Right-click and sub-divide, it adds another point. And I'm trying to just follow the same curvature as this headband. Okay? Now, I'm going to take this one on, bring it here. So by taking the handle and trying to rotate that, we're able to create a result that we want. And then try to rotate this one up. Something like this. We're able to create a half circle. And then we can go into geometry mode. And in the bubble mode we can add just a bit of depth to bring the geometry. And then if you think that this could be changed, it can go either take these, rotate them, or even tried to scale them. Like so. And because this is a curve, if you try to scale it, it will scale the curve and not the geometry. You see whatever I do, the depth of the geometry is going to stay the same. But if you are going to change the depth, you can take the point and try to change it with Alton as it's going to change the depth of the geometry and that point, okay, now the default point for anything in here is 1 cm. If we're going to change that, you can hold Alt and S to try to change that. Okay, something like this. And now let's go for 4.75. It looks like that is a more natural value. And then I'm taking this one and this time. Let's hit Alt and S to make it a bit thinner and then E to extrude that. Now because this is extruding, it might cause some issues. And in order to fix them, you can just try to move this and try to move the handles as well to get a better result like this. And then drag it up the handle. You can make it smaller. And take any results that you want. Then we can try to rotate that. Let's see what we get. This is a good result, but I'm not using that because that doesn't seem natural to me. Just try to rotate and get this result. Now, right-click and try to take the last point on this one, tried to sub-divide. It adds another point which gives you more control over the distribution of the geometry. Okay, try to make the handles a bit of smaller to get such a result. Now, let's see what we got here. It's exactly to the point that I wanted, but I'm not sure about this and shape. Okay. Let's take it and bring everything back. I mean, the overlays and looks like we can try to hit X on this and remove vertices, okay, now this one is better. But I can take this point and try to bring it up like so. Or just take this point and try to make the handles, the beta smaller and try to rotate them a bit. Okay, Now, this is a lot more natural and I'm liking this one actually. Let's see. If that is following the shape that we want. We can try to rotate it just a bit. Like so. And then this one, a bit of rotation will do. Okay. This was about the first one that we did. And let's do the same thing on this side as well. I'm just taking this and try to rotate that. It's going to create another segment. And now let's see about the rotation of this one. How can try to fit it exactly into the cylinder and Alton estimate the profile a bit thinner. Then we've got this. Let's drag it out, only this one, and then try to make the handles a bit smaller so that they are more controllable. And then a bit of rotating as well. And just take this and try to make the handle the smaller. This is going to make the result better. Rotate. And then try to make a small extrusion. This one is going to be 90 degrees and just try to fit it in there. And it's going exactly to the direction that we wanted. Okay, Now, one of it got created. And instead of making new geometry, we can go and try to re-scale the same thing, shift and D, and then try to bring it to here. Like so. But I do not want them to be exactly just like each other in both of the areas. So one way to cheat that would be to rotate this 180 degrees. Now, you see these are a bit different. Now, let's go take this one and try to fit it exactly in here. And about here it looks like we can take this point and try to fit it in here. Now, this one is alright, no problem with it. Let's try to take a look at it. But in order to add more variation in here, I can go try to take this point and maybe move it. Just like so. Let's try to move them on this way as well. Now we've got two wires going on in here and they look identical. When I'm taking a look at this front side, I see that there's an obvious repetition that we can go and try to fix. Just try to rotate, make this smaller. Now, this is a bit more varied and that is looking better. So there's a problem in here. Let's go see if we can fix it. There's no point in here. Actually. We can go and try to bring in the Booleans. Now, we will fix them later on. Now we've got the wires in as well. Then in the next one we can go and try to simulate the cushion in here and on this top side. Okay, see you in the next one. 22. Cloth Simulation: Okay everybody. And now I feel like we are reaching to the end of this headphone as well. And by simulating the cushion, I can really call this one done. So let's take a look at the references. And that is something really simple. We just got a cushion and it needs a bit of simulation. So we can go and try to borrow the geometry from this one. So I can go in and take this one, Shift D, and then we need to separate it by selection. Now we've got an extra piece in here, but this one needs to be subdivided in order to make the simulation possible. I'm going to go in edit mode and just try to take this, making a small insert, like so. And then I'm going to hit P, Excuse me, I'm going to hit em collapse. Okay? Now this collapse the geometry and now we can go, excuse me, I shouldn't collapse that. It doesn't allow us to make the geometry that we want a control Z. And now let's make it a bit smaller. Like so, exactly. Until here. Now, if we go in and try to hit Control, R were able to add segments, okay, just make sure that they are something like cubes. And then in modifier, because we took this one from the speaker piece that has a lot of Booleans. It inherits all of the modifiers, so we do not need them and simply delete them. The only thing that we need is a subdivision surface that's disabled the iser optimal display and try to add some more segments. This will make the simulation lot better, but it's going to be a bit slower for calculations. And the period is going to be centered as well. Now because we're going to paint this and do the simulations, I'm gonna go in the edit mode and take this vertices here, and take this one as well. Okay? Convert them to edge loops by selecting one who are able to get the points. Okay? Now I'm adding a vertex group and hit Assign. Now select the select. But if you went ahead and applied the modifier makes sure that you go and try to do the vertex points. So now after this one, I'm going to add a class modifier. Let's bring this down. And the first thing is applying the shape in here. I'm going to go into pin group selected. And now if I apply, nothing's going to happen. Of course something's is going to happen. But the geometry is not falling. And that is what we want. After this one, I'm going to go and add a lot of pressure. So let's go to pressure study to tell. Looks like it's not doing a good job. It's all about taking the result, changing to whatever you want and see what happens. Now, this is a lot better. It's adding a bit of pressure, but that needs to be a lot bigger. So let's go add more. You see, we have a lot more pressure. But one thing that we need to do is limiting this sniffed stiffness in here. Because you see it just like a fall off. And the points that we have selected humming these ones, this stiffness. The more you increase, the more the neighbor points are going to be just like these pink groups, they're going to stay in their place. But if you try to bring it down and then redo the simulation, you see now only these points get affected and not the neighboring pieces that much. Okay? Now there's another one that you can try to manipulate and that is this shrinking factor. And this is the opposite of that. It's going to make the pieces that are not pinned to move. More. So now, let's try to simulate like this and shade smooth. Now, this is exactly not what we want because we need more pressure. So let's go in here and apply the pressure scale a bigger value. Now, you can see that we get a better result already, but it needs to be more because the reference that we have, you see, it's really pushing out. So let's try to add more pressure. Like so. Then we can go. Let me pause the simulation. So the quality is step by default is set to five. I just went ahead and set it to ten. This makes the simulation a bit slower, but you're getting better quality. Now, in order to make the simulation better even, I can go and try to apply the rotation on this scale. And that now we should get a better result. Okay? Now you see we get already a much, much more final result. And it's adding a very good variation to the result that we have here. And I'm just like keeping this, it's very good. And since this one is a smooth, it's holding out really good against strong and hard surface structure that we have in here. And it's a very good idea. So I'm going to take it and just apply subdivision surface after it and add one more segment to make it really high-quality. But later on, we're going to fix this. So now I'm going to take the exact geometry, bring it here. Okay? Rotate that hundred and 80 degrees. Of course for now, I'm not doing anything. Let's try to run the simulation once more. Okay, now we've got this. Now we can go and try to apply all of the geometry on this. But since I want that to be more fluffy based on the reference that we see in here. Because the period is exactly in here, we can go try to simply move that in x. This makes it a bit more just like the references, but not so much. Let's take it down just like this. Rotation and scale. And then let's deactivate all of the modifiers so that we can rotate diaper. So let's see. Let's just turn off the class modifier. And this makes the rotation better. So in here I'm going to negative 180 degrees. Let's go see where the faces are facing and it's good. So I can snap it perfectly to here. Now let's run the simulation to see the results. First, we need to add a couple of subdivisions in here. Let's see how much we have. Okay? Now this is good. Let's apply the simulation to see what happens in the Physics tab as well. Make sure that this is activated. So run the simulation, it's falling. And because we need to reapply the vertex geometry, vertex data geometry, because if you noticed, the amount of subdivision that we added is ruining that. Now we've got these. Let's go in here, try to remove it and add this one, assign, Select, de-select. Okay, it's working perfect. Now, of course we should go and try to reset the rotation as well. Let's see what happens now. The result is buggy now, so let's see. Let's drag it out a bit. And then in here on the cloth Modifier who need to go and on the pin group. Let's apply that. So let's see. Of course this is a good result, but it's not staying in place. Okay, I'm happy with it. Let's take it and I'm gonna go apply the subdivision cloth and that one. And it pastes that exactly in this area. Now, let's bring the period and this point in here on this center point. Let's see where that is. We can try to bring it up like so and then try to fit it exactly in place. And the reason that it's not a staying is because I feel like by accident yeah. But accidentally activated the rigid body. So I'm disabling debt. So we're good to go. So a bit of scaling along x. Now we've got a good result in here. And I'm happy with it. And in order to hide these seams, we can go and try to take geometry from here because I see that around that we have some type of lizard in here. So I'm gonna go take this, bring in here, shift and D to duplicate it, p by selection. Then I can take this and try to use the solidify modifier on that. Add some geometry. Solidify. But they're not want any offset. One centimeters is okay. And let's try to bring that in here and a bit of subdivision. But this one needs to be bigger a bit. Okay, and the reason that we are seeing such a shape is that this needs to be exactly the same size as this one. So let's apply the rotation and the scale and just try to fit it exactly to the side. I'm not liking this shape. Let's deactivate the subdivision surface alongside with that. Okay? The problem is in here, so we can go and try to resize these exactly the same shape. Now, apply it to complex and apply the rotation and the scale and bring the modifiers. And of course, when I'm taking a look on this side as well, It's not giving me a good result. Now. It's a lot better. Let's take it, re-scale it. Uploader modifier. Okay? Now this gives it a bit of better design. And take this one and this one alt and a, to realign that. That is a better design. Might just keep this or remove it. I don't know. But for now, let's just keep it. So let's add another mirror. And this time the mirror is going to be along x and the geometry is going to be this one. So let's take it and it exactly poses places that in here. So let's see. It's a good design. Now it's trying to go for this top piece. So let's see which one of them we are choosing. So this is it. And now I feel like in the intro section of this headphone, we just applied the vertex data. So we have the vertex data. Let's select any CD's or the vertex data that are not moving. Okay, Now let's apply the class modifier. And before that, I'm going to apply it a subdivision surface. Let's add three of them and then I'm going to apply the coolest. Okay, let's make this 110 pin group. We have it. I'm going to bring this stiffness down and the shrink factor down as well. Then quality of collision up. Because this is a tricky piece. Now we can go and apply a lot of pressure. Let's bring the pressure up to 15 and this one to 50. Okay, and then play. Although this is a good result, but I'm not satisfied with it. The first thing we can go and try to shade smooth, this one to make it a bit smoother, pause the simulation and we need a lot of more pressure. Like so. But I want more profile to this. So one way to get around it would be make the profile bigger. And I'm not going to make the geometry itself bigger. I'm going to go and take this shape from here. Just let's go and disable the modifiers. Then. Take this and exactly two here. And I'm going to rescale these down like so. And now it has more profile. Bring this down and this one down as well. Now, subdivision. Now if I apply that class, we should get a better, yeah, we have a better idea in here. But I feel like we can go have more pressure. So let's apply more pressure and hit subdivision, Excuse me, simulation. Now this is a good design that we got in here. But let's go and try to bring the stiffness down and shrink factor down as well. I want more of the geometry to be included in the geom. Okay, now we're getting a better shape in here. It's just like a cushion pattern that we have in the references. So let's bring the shrinking factor that down even more. This makes the simulation a better, stronger, something like this. I'm talking exactly about this one. Okay, Apply. And then I'm happy with the simulation. We can go and try to apply it a subdivision plus, and yet another subdivision as well to make it stand up even more. Then apply this one as well. One thing that I can take is this one and try to push it back a bit. So while having this one selected, I'm going for proportional editing by hitting 0 to activate it. Okay, and then I'm going to just take this, tried to re-scale it and just bring it in here. Let's see that. Okay, it's good. And let's do the same thing for this one as well. Scaled out in X and try to bring that in. Just like so. And I feel like finally, we're done with this piece. And we learned a lot in the creation process. Now we have a piece that has hard surface alongside with cloth simulation. I'm happy with this piece and I can finally declared, this lesson has ended as well as this chapter. Now we created the base mesh. In the next one, we can go and try to do really quick unwrap on these so that we can bring them to ZBrush and start to make the final high poly there. Okay, let's take this one deleted. Because I didn't need that. There might be some problems in here which we're going to fix now. But the overall creation process is finished. Okay, now let's take it. And now I'm going to take it and convert it to a geometry. Let's take it, create a backup. Then I can take these two objects, convert them to geometry because now they are curve than they can not be changed. Okay, Now, take this one while having the proportional editing. They can bring it back. It's going to move some points with it. This one is perfect. Not so perfect, but it's going to be a good one. So we placed it. It's good. But this one needs a bit of change. Okay? Because the proportional editing is on. We do not have any problem because it's going to move the neighboring pieces with it. Okay, let's see about this one. In here as well. We can try to move it a bit, just like so. And then this one, we could move it as well, just make sure that you do not accidentally select wrong points. Okay, Now, this chapter is done. We created the pieces. The next one is going to be all about creating the high poly, add a bit of sculpting ZBrush. Okay, See you there. 23. Applying Radio Booleans: Okay everybody. Now we are finished with the creation of the base mesh. And now we're ready to go and create the high poly. Of course this one. Some of the elements are high poly already e.g. these cushions and this headband. And here they are already high poly a bit. So it looks like there's something in here that needs to be changed. I see that this one goes beyond this bar that we have here. So I'm going to take it and try to rescale it a bit. Like so. It looks like if we try to rescale it NY to go in, we would have a safer transition, e.g. something like this. This is already a selection. Let's take it and I'm having the proportional editing to make sure that neighboring pieces are moving as well. So I just drag it in like so. Then let's see about this one. No, this one is okay. So now we've got this piece and now we're ready to take a backup from it. And I'm going to import the radio in here as well and start to work on it. And I'm going to work on both of them on the same scene. So now I'm going to, I'm going to hit M or in here. I'm going to create a collection. So I want that collections would be the children of this main collection that we have. Okay, let's create a new one. And I'm going to call this 101 base mesh. And the reason that I'm adding the 01 is that alphabetically it appears up top. Now I'm selecting everything in here, including all of the Boolean pieces and so on. And hitting M, add new collection. Let's bring them into the base mesh. And while having them all selected, Let's leave it. I'm going to create a folder that is children of this one. And now let's rename this one to headphones. Okay, now I'm taking everything in here and bringing them into the headphones conduction. Okay, now I can turn this one off and on wherever I want to. So I'm going to take this and drag it over because I'm going to bring the radio model as well. And I'm just going to make sure that I place it here and start to work on them. So now let's remove that one. And then I'm going to go open the one blender file that I have the radio in. Okay, this is it. And I'm going to make sure that this is not going to change, be changed at all. Just hit a to select everything and then control C to copy. Then open up the new one that you have here, control V to paste that in. Now, we should face this way. Let's drag it out a bit. Like so. And then we got both of the objects that we have in the scene. And now I need to select this one, create a new folder for it. So under the base mesh, I'm going to create a new one. And let's just call this one radio. Then I'm selecting everything in here. And base mesh radio. Now, I've got this and I can totally just try to turn these on and off to get what I wanted. So now I'm not going to actually work on these, on these base, base meshes. Instead, I'm going to take all of them and Shift D to create a new copy. And the reason is that later on we will come back to this base mesh and try to create the low poly from this one. This is the backup data. Always refer back to. So now I'm hitting M. Let's create a new collection in here and just call this 102 high poly, or let's call it three ZBrush. Because the actual high poly later on is going to be created when we make the high value and a sculpting ZBrush and reimported back. Okay, now, I really do not need to work with the space mesh. And since these are, these two are the children of that base mesh, I'm gonna go and try to turn that off so that every time I try to work on something, I'm selecting something from these e.g. you see that, that one is in here. So now we need to go and try to apply the Booleans and do the unwrap the way that we did on the demo. If you do not know what I'm talking about, you should go back. I believe it was less than five that we talked about the demo and how we unwrap these to be done for the working inside ZBrush. So now I have this base mesh and I'm not gonna do anything to it. Then, then I have this pre ZBrush, which exactly again, I'm gonna go get em, create a new collection and just call this one radio. And then it should place, they're placed them in here. I need to go in here. Or let's go and take this one as well. New collection and this one, let's call it headphones. Okay, now under this pretty ZBrush, we have a radio and a headphone as well. So I can take them and try to drag it to make it a children of this one. Prior to that one, they were not a children. So now they are children of that ZBrush. I can turn them on and off to start to work on them. Now the thing that we need to do is applying the Boolean modifiers and try to unwrap them. For now, I will apply any Boolean modifier that we have. And you should make sure that you do not move at all because I'm going to import export anything on their same places so that later on it wouldn't be a problem for Substance Painter to bake them. Okay. Now I'm going to take this one and just try to see what we have here. I'm trying to take a look at the modifiers and to see which one of them I'm going to keep some of them, e.g. these bevel ones, I'm going to remove them because later on the bubble is going to be added inside ZBrush. This one was only for good representation inside Blender. And later on we will add the bevel inside ZBrush and the smoothness is going to be added in ZBrush. So let's see what we have for the first one. We have this. We're going to keep that because that is a huge change. Control and a while having the modifier selected and it will apply the bubble. Okay, now we've got that one baked. Now, let's do one thing. I'm going to collapse all of them. Like so. Because we have a lot of Booleans, it might take a bit, but it's better for organization. And to make it easier on us, There's an add-on in here. Let's go into Preferences and then just search for the modifiers. Then this is the modifier tools. If you enable that, it should be added in here, here, now we have all of them. So there's something in here toggled stack. This will open all of them. And if you press again, it's going to collapse all of them. Then we have the viewport, which is going to turn all of them off in the viewport so that you see now we've gone to the base mesh that we had. And then you can apply all of them at the same time, which we're not going to do. And you can delete them all in one click. This makes it easier to work with the modifiers, okay, now we have them all turned off, and now we can go and try to turn this on to see what changes they make or if we want to keep them or delete them. So this one definitely I'm going to keep it because it makes a huge change in here. So let's bring the toggled stack on. Then I'm going to, while having the mouse cursor on this one, I'm going to hit Control a and a to apply that. Now, we have the weld, which is going to make it a bit more ordered. And what some vertices there, okay, I'm going to keep it. And then we have the bevel, which is this one. I'm not going to keep it because this bubble will later on will be added in ZBrush. And for UV creation, this would be a pain to unwrap. So now I'm going to remove this. And let's see, we have a weighted normal modifier. Let's keep it, keep sharp, apply it. And then we have another bevel Boolean, excuse me. Okay, This is it. I'm going to keep it. Let's see what this one does. So it looks like there's a problem in here. So let me go try to select this. This is the p star is driving that one. So in order to improve database, I'm going to bring that back like so. Just take the Boolean, drag it back a bit more. Okay, Now I'm not going to try to drag it back. Instead. I'm gonna go in here and try to take the vertices and try to drag them. Like so. The create this effect. Now front and back. It's doing a good job. Okay, now, let's select the object that we have. And then I'm going to keep this. So now let's see what this one is. This one I'm going to definitely keep it. And then control and a to apply. And then let's see about this one. This one as well. I'm going to keep it, but for something like the low poly, I will go and delete this one instead rely on the normal map bonds. But since we're going to bake the high poly, I'm going to keep this because this is the high polish. Okay, now controlling a. Let's see about this one. This one is the LED screen. I'm going to keep it. And the way that normals is going to clean everything up, keep it. And then let's see this panel as well. Keep where the normal model for cape. Duplicate them. We have this panel in here. Let's keep it were a normal modifier. And then we have this diagonal line in here. I'm going to keep it. Then this one, Let's see what it does. It's cubed zeros 09. So let's go back in here. We can search for. Q.009 in the radio. So let's go back and we should find it. Then the radio in here in the ZBrush. So it looks like we can not find it. No, the object is, if you just select this one, you see that the object is cube. This one not cube 009. So this one happens. Let's select the name and see what we have in here. Okay? This is it. This one is the one that is driving that. So let's take it and for now I'm gonna go in and try to remove all of these. So let's hit F3. I do not need all of these segments. So I'm gonna go in here and try to shift and Alt select all of these, because that one was only to correct the shading inside the viewport. And now, because we're going to export this one into ZBrush and already tried to solve it there. I'm going to take all of these and try to remove them. Okay. Now we've got it. Okay, Let's go back. Then. Just hit up three on that to make it non visible and then try to take this. And then you can see that by turning this on and off, you see that what is that? Ok, Control a on this applied. Then let's try to isolate it to see what is going to be that, okay, Now, this is the one. Definitely I'm going to keep it. Let's see about this one. Okay. This is the panel that we have here. I'm going to keep it. And the next one. And this one is very important. It's causing these panels in here. Control and eight. Now this one as well, I'm going to keep, this one is creating this slice in here. Okay, I'm gonna keep this one as well. And these ones, Definitely, It's all a matter of applying the Booleans and see what they do and what do you want to do with them? So it looks like this one is this cut in here. I'm going to keep it. This one as well. I'm going to keep Let's see. Yeah, this one is this panel that we have here. I'm going to keep this one as well. Then the weather normal modifier to correct the shading for now. And you see we got ZBrush mesh that we have here. So I'm going to Shift Spacebar and the lit costume normals. Okay, now you see everything is back to the default. Let's apply the smooth then based on 30 degrees. Okay, now we're good to go. You can see that we have the mesh now, okay, now, let's see what we need to do now. So now that this one has been done, I'm going to take it and it h, This is going to hide it so that we go and try to work on other pieces. Right now. I do not need this, so I'm going to remove it. I wanted to create a wire, but I didn't feel like it was a good option. So let's remove it. And we can go and start to work on these. First, let's go and start to work on the big picture. Again. I'm going to remove all of them soda. We get back to this cube and try to see what it does. Okay, I'm definitely going to keep this one. And let's toggle a stack once or twice to expand all of them and see what the Booleans do. Okay, this one I'm going to keep, Let's see, this pebble. Actually. Let's keep it. Because based on the references, we have such a cut. Okay? Now the next one is this one. Then we have this one in here. Okay. I'm going to keep it. And then this one definitely want to keep it. Then these slices, this one as well. And this one as well. Weighted normal. This one as well. Then this one. I can keep it, but it's going to cause a lot of issues. So I'm gonna go back and remove this. We do not want it. Okay, now we apply the Boolean on this one as well. I'm going to hit H on it and try to work on this panel in here. Toggle all of them. Try to hide everything. And now we can go try to see what they do one by one, okay? This one, we want. This one definitely. And the bubble, I do not want it. Okay, let's remove it. Double. Bevel is going to cause a lot of problems in the unwrapping. So I do not want to keep it. This one. Okay. I want this one to be as well. And this one as well. Yes. Then this cube. Let's keep this one as well. This spherical thing that we added. Let's see about this one to see what it does. Okay, this one is that cut in here. I'm going to keep it. And then the way that normal modifier, so now let's take it clear custom normals. Now see, we do not have any shading issues. Now let's just give this one a bit of smoothing. Now. It's going to be based on 30 degrees. And now it's done a good job in smoothing a lot of these areas. Now, let's go in here, and now we're going to hide this one. So it H, so that it hides it. And now it's time to go and start to work on other pieces, e.g. this one, I'm going to keep all of the Boolean pieces, but I'm not going to use the bubble. So for now, let's isolate it. Toggles stack. Now, turn off all of them to see what we go. For a now, the bevel is actually a good one because it's not only adding the segments for the high poly, it's adding for the next Boolean piece that we do. Okay? Now these ones I want to capture as well, of course, for the low poly, we will go on to lead them, would bake fine on something like this. But for the high poly, I'm going to keep it for now. So let's apply the bubble and now the cylinder as well. So now let's apply this one as well. And this one is finally going to make it to the production for the high poly. Okay? Now, let's go back and try to hide it. And these ones are just fine. These buttons, I'm going to keep them, but I'm going to turn off the bubble because the bevel later on is going to be added inside of ZBrush because just, let's take a look at it. We're now, this only takes half 1,000 triangles. But if we turn the bubble off, you see now a huge optimization. We did. So I'm going to turn them off. And later on we will apply that bubble inside ZBrush by applying the smoothing. Okay, now, turn this off. Now let's go for this one. And of course this one is a collection of meshes and I'll definitely want to keep it. Of course, for the high poly and for the low poly, we will bake that. Okay, Now, let's go back and hide it. For now. These ones, Let's go for these ones because these are simpler and we know that we're going to keep them, so keep it, uh, later on who will clean this up by clearing the Boolean pieces, but for now, just leave them be, okay now the bevel is there. Let's remove it because later on we will add that bubble inside ZBrush. And I do not want to add another step for unwrapping because the unwrapping using such a method would be time-consuming. So I'm going to delete the bevel now and the Boolean definitely, I'm going to keep it h. And now this one as well, I do not want a bevel, but the Boolean, definitely I want it. Now, let's see about this one. Let's see what the bevel does. Of course, the bubble in here is adding to the shape. And not only for the smoothing or those kinds of things. So I'm going to keep it than the array as well. It's going to be kept. Now this one, the bevel, no, I do not want the bubble because that could be done using the smoothing inside ZBrush array applied as well. Now, let's go for this one. The bubble. Definitely I do not want to keep it. Let's go back. And you see, we're only left with these Booleans. And I'm kinda in-depth about this one. I don't know if I'm going to keep it or not. So for now, let's keep it. But later on we'll see if we want to keep this or not. Okay, Now, the next piece is this one that is a very simple piece. Just hit H, it's going to hide. Now we've got this one as well. Let's do toggled stack, turn them off, and then we got a boolean. It's going to make a crucial cut in their apply. And then this one as well. I'm going to keep it. And the bubble, no, let's not keep it. Hit H and you're good to go. And this one as well, It's a very simple piece we could apply. The good thing is that when you use the ball to all of the Booleans are converted to wireframe by default. Of course, if you apply that button that we in intro sections, just pull tool. And then there's an option display as wireframe so that we know only the pieces that are getting shown in full view or the meshes and these ones are Boolean pieces. Okay, Now, this one, Let's take a look at it. This one was the piece that we cut the shape into it. Okay. Now, I want it to be okay and Haley H go back. And this one as well, doesn't have anything extra, so hide it. But this one, we have the boolean that we caught using that panel. Definitely I'm going to keep it and hide it. So now we're left with these. Let's see. The bull is going to cut the pieces. I'm going to keep it. And now hide. And now it looks like this one is the last piece and this radio. So let's see, we have only one Boolean to cut it exactly through the panel there and apply the modifier and hit H. Okay, now we're left with these Boolean pieces that we can go and try to hide them, or we can go and try to definitely remove them. So in order to stay on the safe side, I'm going to go create a new connection and just call this one radio hooligans. Now let's see where these are at. Just take it and bring it up. Put it into the radio collection so that they can hide it in no time. And then these ones are the ones that are actual geometry. So let's take them. Let's put them in a folder. Create a new collection, and just call it radio geometry. Now these are the real geometry and with no baked or Boolean or anything. And radial geometry could be in the radio as well. So now we've got the pre ZBrush folder. In that folder we have the radio, then we have the radial geometry, and then we got the radio. Let's bring them back, the booleans. Okay, now I'm going to stop this lesson. And in the next one will go for the headphone, or we have time. Okay, let's go forward or headphone. In this very lesson, you could do all of that in one lesson only. So now let's hide all of the radio boulders, because now I'm going to focus only on this headphone. Okay, now we've got this. Let's go back. One thing I noticed is that I want this one to have a rounded curvature basement based on my experience, if you bring this one into ZBrush, you're going to get a lot of faceted edges because the cylinder, although that is non-destructive and if you go, we can go try to change the segments to have more smoothing. It's not going to look very good when you bring that inside ZBrush, so forth. I'm going to add some more segments so that the bank would be a lot better. So for now, because this is going to take a bit of time. I'm gonna go and cut this lesson in the next one who will finish the headphone as well. And then we will go for unwrapping and then the ZBrush. Okay, See you there. 24. Applying Headphone Booleans: Okay, everybody, I'm previous lesson. We finished the radio. Let me bring it. And now we've got the radio with all of the Booleans baked. Of course, there are some ugly and guns in here, which we're going to fix later on. But for now, we're gonna go and bake the Booleans on the headphone piece. And then after that, we will unwrap them and export them to ZBrush to see if there are any problems or not. Okay, Now let's go for the easy side, and I'm going to take this, let's see. That is in this headphone here. Now I'm going to hit H to hide it because these do not need to be, basically they do not need to get worked on. Now, this one as well, Let's hit H. This one doesn't need anything, H, this one as well. But this one, I'm going to do one thing and that is disabling the bubble. And you see that the curvature is a bit jaggedy. So now in order to fix that, I'm going to go in and try to make the curvature a bit better. And I'm going to put segments in here like so, and then make the smoothness one. So it looks like this one isn't going to be doing any good. Let's add one in here and a smoothness to one to make the curvature a bit better. So now I'm going to select all of these edges for now Let's clear sharp. I'm going to go to Edge mode, select all of them right-click and clear sharp. Okay, now we have a better visual on there. I'm going to select this edge, this one, this one, and this one. And I'm going to exclude the last edges, which are these ones. And then I have this edge that goes all across. And then I'm going to right-click and do a sub-divide. Now you see it doesn't add any curvature or anything. We need to set the smoothness to one. Okay? Now it tries to relax the curvature a bit more. Let's set it to 0.1. You see the curvature gets a lot better than we can go. Add more segments to make the smoothing even more. So put a high poly, this is very good. And it can go even make it more high poly by adding a subdivision, e.g. to make it more, hopefully, just add one simple to add some support edge loops. Or you can go try to add the edge loops, manually. Add one loop, cut, make it two, and then try to slide this one, exactly two here. And this one just about the same distance as the previous one. Now, if we go and try to take a look, you see now this becomes much more smooth, but we do not get actually a lot of visuals contribution out of that. So let's go and try to delete days. We're good to go. So now I'm happy with this, but let's do one thing. I'm going to hit Alt and H to bring that back. Only want this one. Okay, Let's try to compare them. I do not want this one to be extruding out of the surface of this one. So for the most part, it's doing a good job. So now let's again take them, this one as well and try to hide them. So let's see if the selection is okay. So I'm happy with it and try to hide them. So now we're good to go for this one. And this one could be done easily by the mirror. And let's try to take a look at it. And I'm happy with it. This pebble, I'm going to keep it because you see the Bevel adds a lot of shape definition. It's not only a normal level, it's trying to round up all of the corners and I'm going to keep it. Okay, Now, hit H. Looks like we got two of them. So let's see. Looks like there's one in here as well. So I'm going to remove that. Looks like this is the one that is going to be mirrored to the side. Okay. Those ones were there and they were not right? Okay. Just take it and remove. Now this one is going to be done. So let's see what we need. Toggles stack and just turn all of them off so that we can try to take a look one by one to see what each one does. So because this one is high poly, I'm going to keep it, but for the low poly, I'm not actually going to keep it and only rely on the normal map bake down. And the next one is this one which definitely want to keep it. This one as well. This one, I'm going to keep it for the high-quality. Maybe want a low poly, maybe we remove it and then this one which we're going to keep, Okay, now I'm going to make a mirror on this side. For now, Let's go temporarily bring that head band to use that as a mirror. So let's see. Yeah, this one is the headband. You say it has the pivot in this area. So I'm going to keep it and try to mirror based on x. Then this is going to be the mirror axis. And it's going to be done perfectly. Okay, Apply. And then I'm going to hide this one alongside with this. And then we're left with these earphones, which are the parts that I want it to stop the lesson for. Now, you see the curvature isn't so right? And if we try to export this to ZBrush, we're going to get a lot of faceted edges. But one good thing about this workflow is that it's non-destructive. And in every step that you're in, you can go back, go into edit mode, and try to change whatever you want to do. So now, this is the ramesh that we have. Now I'm gonna go and try to add some loop cuts in here. So just select this one. And now we're going to go select the edge rings until the exact area in here. Okay, Now, let's go add or select loops by edge rings. Now it selects all of the edge shrinks until they're than. Then right-click and try to sub-divide. Okay, now you see it doesn't do anything. Let's go make it one. So you see, it makes the curvature a lot better. Let's do one more. And this makes it very good. Later on, we will really see the benefit of using this workflow in here. But one thing is that because we change the curvature so much, this piece in here, this Boolean piece is getting buried exactly under the surface. We need to re-scale that a bit out to make that pop up. So now there's one more thing. Let's go see about this one. No, this is not. I'm taking a look at this one in here. We could try to round this one off as well, but I'm not going to do that now. So the only thing that we're doing now is this piece. Let's go see which one of them is doing that. So just try to select it. And I'm going to bring the period exactly into the center because as you see this one, I have applied the array modifier. If I try to move it, it's going to be only moving one of the instances to be good and all of them are going to be wrong. Okay, now, just select the host piece and make sure that the pivot is exactly in the center. And now hit Shift and S. Bring the 3D cursor to select that shift and select it. Now, we're going to use this one as the pivot. So let me take the bully for now. And instead of using the normal pivot, I'm going to go for Control Alt and q. And then pivot point temporarily. We're going to set that to 3D cursor. Now, everything that I do is going to be revolving around this. So just set S and temporarily drag this one out so that we can capture all of the info. Okay, Now, let's see. It's very good. And all of those problems got fixed. And now I'm happy with it. So let's see if there's any problem that we're going to fix. And that is this one. It looks like we could drag this one in just a bit more. Let's bring the pivot to the bounding box. We can drag that in to cut it. And it's doing a good job. So let's bring it up. First. I'm going to remove the bubble because I do not need it, does automatically solve the problem. So let's go in here as well and remove the bevel. For now. It's a very good design. Let's go do the same thing for this one as well. Now because this one is non-destructive as well, we're, we're having an easy time changing the curvature, okay, Now, while having this edge loop selected, I'm going to go for Edge Ring. It selects all of them. And in here, just right-click sub-divide. Now, it's doing a good job at one more and you're good to go. Now, the only problem is with this one. So while having the host selected, I'm going to bring the period in the center Shift and S to bring the 3D cursor in here. And then I'm going to use this 3D cursor as a temporary period. So just take the piece that we want, which is this one, okay? And then set the pivot to be based on 3D cursor. Now, just try to scale on all of the vectors until we see this one in action. So let's see if there's any problem. Now, everything is alright, and we're good to go. This area as well as changing based on the curvature, which is actually a good thing. Now, it's time to go and apply the Booleans. So for this one, first we had a decimate modifier and then the wireframe. So it's going to be good. Let's apply, apply and then hide it. Then it looks like we got this one that is cutting in here. And if I isolate this meshes, see that everything in here has been rounded except for this one. Of course this is round, but when we export it to ZBrush, it's not gonna be so round. So now. In order to prevent some of the future problems, I'm going to select this one. Okay, Let's disable all of the modifiers, just like so. And then I'm going to select this edge and this one, right-click sub-divide. It, adds all of those shapes. Let's add one more. And then let's go back and solidify. Okay, Then another bevel. This is going to be a lot better for the future. So let's see what it does without bubble. Of course we can try to remove the bubble, only, rely on the solidified, which later on we will smooth inside ZBrush. Okay. Now just try to take it toggles stack, okay, disable all of them. And now we need to activate one by one to see if we want to keep them. So this one definitely, I want to keep it. This one as well. This one, the panel cut. I'm going to keep it. So this one is doing this panel cut. I'm going to keep it and I'm going to keep this in the low party as well because it's altering the geometry so much that it wouldn't be possible to take that on a normal map. Apply this one. Let's see what we got here. So we change the direction and I'm not going to keep this one. This one, I'm going to delete it. So now this panel, I'm going to keep it. This one as well. So this one definitely panel cuts, maybe this is cube for t. Let's just search the name in here. Let's go back. And that is, okay, and this is this one that we're going to definitely keep. This one as well. I'm going to keep, Let's see about this one. These are these connection points. Let's keep them. These that go round. These ones. We're going to keep them as well. So let's see how about the rest of them? So let's see what this one is doing right now. I do not see anything. Okay. This one is that one. This one as well. This one. And this one. It added a cut in here. An overall cuts. Let's keep it. Cube 44. Let's see which one this is. This is the one that adds the cut into here. So let's just take it and try to extend it based on its period. So let's bring the pivot into bounding box. Try to extend it just a bit and try to take a look. Now, I'm happy with this result that we are getting Apply. And then take this one, take the host piece. And this one, we're going to apply that where the normal. Then another Boolean, which is this one that see, it looks like there's a problem in here. Let's just select the object and search in here to see what that one is. Okay? This is this that we do not want. It's here by mistake. So I'm gonna go and try to remove it and take this piece and remove as well. So we've got this one baked and we're ready to go and try to unwrap it. But for now. 25. Unwrapping The Headphone: Okay, everybody, now we've got everything organized. We applied all of the Booleans and there's no longer any Modifier applied on these. So we have left the Boolean pieces as well. So if there's something wrong, we can go back and try to bring them on and apply the Booleans. So for now we do not need the Booleans. We have the radial geometry in here and the headphone geometry in here. And we're going to do a very, very small UV setup based on the sharp edges. And the thing is that let's just try to explain that on this piece. I'm going to Shift D to duplicate it and bring that in the center so that we do not do anything harmful to the main one. Okay, Take this one has an example. Later on that we are going to create the actual production. Where do you UVs. We will do a lot of more care and creating of the UVs. But for now, it's only going to be a matter of selecting the sharp edges and applying the UV on them. So just hit. Or if you do not have it in the quick menu, you can go to select and select sharp edges. And now you have an angle in here which you can select. So now this one is perfect for our needs. We have this and then right-click and Mark scene. Okay? And then for the ease of use, I can right-click, Add it to quick favorites so that when you hit Queue, you can see this mark scheme. So let's try to inspect to see if there's something wrong. Okay, I'm absolutely perfect with this. So just try to select everything in the polygon mode. Right-click and unwrap. Select in the UV editor, right-click and unwrap. Okay, now this is a primitive UV and I'm not going to do anything to it. The only thing is exporting this as an FBX to ZBrush. So I may test folder in here, just selected object so that nothing else exports with it. And Export As, as FBX. Before that, there's one more important step that we need to do and that is triangulating the mesh. Because if you do not triangulated, have ZBrush is going to have a lot of problems importing this mesh. You can either apply that or leave it for now. I'm going to keep it destructive, excuse me, non-destructive. So that every time that you want it, we can go back and try to remove the triangulation and here's the good thing about it. You can just toggle on and off using only one button using the modifier. Now it export. And then make sure that you limit to select that, to select the objects and hit export. Now here we are in ZBrush. I'm just gonna go imports. And this is the mesh. Let's hit Open. And Okay. Now there's one thing that we need to do before doing anything and easy because we have a curvature in here. The mesh is so jaggedy because we do not have much geometry in here. And you said triangulation hopes in a cleaning port. So now I'm going to open up the sub tool menu and just hit duplicate that you can find in here. And the shortcut for that is Control Shift and D. I'm just going to keep this one as a comparison so that later on we can compare the high poly to the lower body. So having this one selected, I'm gonna go with you. And we already are familiar with the user interface. And if you're not familiar, you can go back to the demo. I believe it was less than five that we did a demo on this whole workflow and how we're gonna do things in here. So groups with UVs. And now every time that we have a color change, it's going to be sharp and the colors themselves are going to be smooth. So let's see what we're gonna do for now. I'm gonna go at a DynaMesh. And it's important that you DynaMesh on a high resolution because some of the poly groups that we add later on are going to be so close that it might cause some issues. So having a high resolution would really help. So set it to K and hit DynaMesh. Okay, Now, depending on the complexity of the mesh, you might get very high polygon count, but I am going to just ensure you that this is going to be worth it. And later on, we can really totally compress that to a very, very low poly model that is still high-quality using the decimation. So for now, you see, although we have a lot of geometry, but this hasn't been a smooth at all. So there are multiple cases that we can do. One of them is using the Polish unmasking features, e.g. Edwards, for such a model that we do not have a lot of small details. It's maybe good to test it on this. So now I'm going to mask by borders, Excuse me, by poly groups, and then mask by feature. It created a basic mask around these points. You see everywhere that we have a color change, it's going to mask it for us. Now, let's go grow the mask couple of times. And in order to make that not so sharp, I'm going to blur the mask just a bit, like so. And then we're going to use this polish. And this polish. The default polish has two stages. One is the default, 1.1 is after activating this one, which makes it more radical. So I'm going to use this one. So let's add. Ten polish. So it did a Polish but not so much. So let's add a half level of polish. And now you see we've got a bit more polished, but still, there's a lot of way that we can go then because we have masked these edges, these edges are not getting any effects. So now let's add once more. And now I'm going for 100. And let's give it time to calculate and I'll be back when the calculations are done. Now we see this even gets more polished. Now we can reverse the mask and try to polish this one as well. Now we're polishing the edges. Again, just let it calculate. Okay, Now this one got a bit of a smoothing as well, but this isn't actually what we want for now. This becomes a bit just like plastic. And I do not want that to be something like this for an area like this. I'm liking that, but for the most part, I'm not really liking. So there's another way. Let's go back some steps. Okay, let's remove the mask. Now we've got the mesh DynaMesh, and there's one Polish by features, and you just activate the feature we're going to use by poly groups. And just try to polish. Just, I feel like the default version without activating this icon in here will work better. So now you see it. The more we try to polish, the more polished version we are going to get. Just try to polish some more like so. And then we can go Polish by poly groups as well. This is helpful so much. It's going to polish based on the differentiations. But between the poly groups, he see we have some changes in here into areas that we have difference between the poly groups. Okay, now let's try to polish a bit more. Because we have some jagged edges in here. It's going to be jaggedy anyway. But this is a good result. And now in order to add one more polish, just polish it a bit more with that. To make it a bit smoother. Maybe add ten per cent of polish to add that. And then we can go publish both groups and Polish by feature to make it really polished. And a combination of these three together who really produce a high-quality results. Now you'll see we get a very good result by polishing dad. And it's very high poly looking. So now let's a bit of more polish. This tries to smooth them. And as polished by feature, tries to bring the edges together. And a combination will really work. Although the circle surfaces are the most difficult because they do not have a lot of edges in the beginning. So the curvature is going to act some funny. But the flat surfaces, just like the radio has going to work just fine. So now let's try Polish by poly groups. Okay? And then let's try to compare that with low poly. And you see the low poly is so jaggedy and not really a good result. You see, this is it. And after smoothing, who went to something like this, which is very high poly and good-looking. And then because we have a lot of geometry in here, we can go and try to have some good sculpting on some of these areas. Try to at some interest and things like that, e.g. something like this to really add some interests and oldness to the edges, which are going to do later on, because I feel like adding these details, the small details will really take your 3D model to the next level. And then we just export this into Blender. Of course, after we decimate that, I'm not going to decimate now because I'm not going to use this. But later on, we will use the decimation to see how that works. So this is the workflow to get something really high-quality and smooth by combination of Polish, Polish by feature and by Polish Bipolar groups. Now I close ZBrush and I do not need this one as well. So now let's start by the pieces that require no work at all, including these cushions and this headband. These actually do not need any work because they are already done and we do not need to do anything. It H to hide them. And then this one as well. I do not need to do anything I did. Then the rest of them is going to be a very, very simple. Let's start with this one. And I'm going to create a cap for here. So. Select the edge loop, right-click and N to create a face in here as well. Because capping the geometry would be better for later on doing the DynaMesh. So right-click and N. Now Mark sharp edges, okay? I do not want all of these sharp edges. Only select this one. And this one. Mark seam. And then one random edge in here. Like so that goes all across, could be seem as well. So select everything, Right-click and unwrap it, did it, and hit H. And then one more thing could be done in here. Right-click an n on this one as well, Right-click and n. Then this one could be one seam. This one. Alongside with this face mark scheme. Now select everything on rap. And I do not care if the unwrap is good or not. The only thing is the ability to differentiate the smooth parts. Okay, Now, H on this one as well. Let's see. The next one is this one. This one is simple as well. So right-click sharp edges. Okay, it does a perfect job. Mark seam, and then just try to select everything on rap to make these difference. Okay, Now, this one, and the next one is about this. So let's go in. It already has some smoothing in here. Just select everything in the edge mode, right-click and clear sharp. Okay. Now let's clear custom normals as well. And now we're gonna go for sharp edges. Okay, for the default, it's doing a good job. Right-click mark scheme. And now let's see if we need to add any more custom sharp edges. So no, this one as well is the same thing. It's basically a mirror. So select everything and unwrap, and it does a perfect job. Okay, this one could be hidden as well. And see how simple this process gets. And we could easily create a very desirable results inside ZBrush. Let's see about this one. I'm basically leaving this. And later on doing a DynaMesh and only a smoothing the result. This, and now I'm going to take this one. Mark sharp edges. Okay? It's doing a very good job for a lot of the times 30 degrees is a very good value. So mark scheme and then looks like it doesn't have any UV channels. So we can go in here, the object data properties and create a UV map. Now select everything unwrap done. And I do not care if the UV is distorted or not. The only thing is to be able to add the poly groups based on the UVs. Now, we're left with these. Let's select them. This one as well. This one, and this one. They all need a UV map. This doesn't have this one as well. And this one, okay? Now just select them all. Go into edge mode. Select sharp edges, perfect, mark seam. And then in here just select everything and boom, done. In order to make it easier, we could join them together to make it easier to work. Okay, now, I've got this one, and since I got four more copies of this, I'm going to only grab one of them. And because the measures are identical, I'm going to copy the UV maps from this one to these three meshes. Okay? Now, there's a primitive UV in here, but it's not okay. So select sharp edges. Everything is doing a good job in here. Mark scene, and then go to polygon mode, select everything and unwrap. Perfect. Now, just select these three that are identical to this one. And I'm going to select this one as the active object. It control an L and then copy uv maps. Now, if I go in here and try to select the C, the same UV map gets applied in here. Perfect. Okay. And just take them, hit H to remove them or hide them, excuse me, not removed. And now we're left with this piece which requires a bit of more work. Or before that, let's go and try to apply. This one doesn't need applying later on. Who will add the DynaMesh or the DynaMesh didn't work. Who simply bring this back and try to bake it only. Okay, Now let's see. We're left with these two pieces that require a bit of more work. So it doesn't matter. We're doing that, by the way. So now let's try to select the sharp edges, okay? Then for now, I'm going to mark see this one as well. I'm going to make it sharp, make it seem, excuse me, selected mark seam. And it can hit F3 to go see where in the geometry you need to have the simplest. Okay, on this one, it's okay. I'm inspecting the geometry to see which parts are actually requiring that work. There's one case in here. Let's select this and copy all the way through here, this one as well. And all the way through this one mark scheme. This one that encouraged by that outer edge selection. In here as well. It looks like, it looks like there are some buttons in here which we can go and try to take care of. Okay, let's take these. And they are already good. And just select them. And it already has the UV, but in order to make sure that it's going to be alright, just select sharp edges and convert them to seem. And then select everything on rap. Then unwrap and done. Okay, Let's hide these ones as well. Now, let's see. This is the only one that is remaining. And it looks like everything in here is good. I'm just inspecting around to see what I can find. Looks like this one could be deemed as well. Okay, Now, just take everything in the polygon mode, unwrap. This is good. Let's see what we get. Something like This isn't good for production at all. But since this one is only for separating groups from each other, It's not gonna be a problem really. So select this to see what it is. And it's okay, I'm going to use it. And if we encountered any problem, we will come back and try to re-export this. Okay, now let's hide this one as well. Now we're left with this, which is basically the same thing as the previous one, Okay? Select sharp edges that didn't capture all of them. So select this one, this one as well. Mark scheme. And just try to inspect to see if any area needs to be captured. This one is remove that one mark scheme. And I'm just pausing to look around the mesh to see if there's any area that needs to be corrected. Okay, One thing is I'm going to capture this edge in here and make it seem as well. That requires going around the mesh and selecting these one by one. So it takes a bit of time, but it's going to be worth it for the later on. It's going to be a lot better. Okay. I've got all of them selected now. Mark, Same. It looks like everything is okay in here. And I'm really having no problem to go and try to unwrap it. Done. Now let's hide this one as well. Let's bring everything from here. I'm going to do one thing. Let's select this one. And I feel like we didn't capture no, not this one. I'm talking about. This one. Looks like it didn't capture this edge. In here. I'm going to go and re-select the edge. And I'm going to round to select all of the edges like so. And then mark scheme, then another unwrap needs to be done. And then in here as well, I feel like we can go and try to do another unwrap. It looks like it's a very good result. We unwrap this one. Very primitive unwrap only for sculpting inside of ZBrush. And then I'm going to pause in here. And in the next one will go and try to unwrap this one as well. Then export them to ZBrush to say if there are any problems, if there's anything needs to be fixed. And then we'll do the hypotenuse sculpting inside ZBrush. Okay. See you there. 26. Unwrapping The Radio: Okay, everybody now created on wrap-up for this one, of course, the preliminary bond rap for hyperbolic sculpting. Now, we're gonna go for the radial piece, which I'm selecting now and just try to work from smaller pieces all the way to up. Okay? Now we've got some pieces in here that we can go try to unwrap. Just hit Select sharp edges. Mark, See. Okay, everything is good. Unwrap an okay. Now I'm going to hide this. And this one as well is very easy. Just select by sharp edges. No need to. Any extra work. Excuse me, I should have marked C on this one now on brat and perfect. Now hit H to hide it. Now I've been like these two pieces are the same. I go and unwrap this. And if I liked it, I will apply the unwrap to that other piece as well because I feel like these two pieces are identical. So select sharp edges. Everything is working. All right. Mark seam, and then select everything and unwrap. Okay, perfect. And now select a piece that you want to unwrap, and then select the piece that you want to take the unwrapped from as the active object control and L copy uv maps. And then in here you see the unwrap has been moved and it's good. So hide this. Now. Let's take these boats. And just to try to select the sharp edges. And it's doing a good job. So mark scheme, and then we need to first create a new before it, because these, by default do not have any UV. Unwrap. This is good. Let's hide them. And of course there are some bolts in here as well, which we're going to unwrap. So first create a UV map, go to Object Data Properties. And then in here we have uv maps just to try to make one UV map for it. Okay, just go into edge mode. Sharp edges, excuse me. Select by sharp edges, mark seam. Here we got the unwrap. Let's try to go back and try to hide this. Now, let's go for this one. And the leg by sharp edges, everything is looking good, right? Mark scheme and then in polygon mode, select everything and doing unwrap. So let's see what is the source of this problem. It looks like we do not have any seams on these areas to cut that. So again, let's select by sharp edges and try to decrease the angle to capture the ECF. Now, this one is captured. Now let's mark scheme and then now try to do another unwrap. Now this one is better and this one gets into one UV shell, which we actually want. Then let me just try to see them. Okay, everything is alright. So now let's go back and hide this. Of course, for something like the production you, we were not at all going to use such a UV. It's not having any quality, so it's only for z brushes sculpting and not more mark scheme, and then select everything and unwrap. Now, hide it. And let's see what else we have in here. We have this one, and this one is easy as well. Select by sharp edges. Let's go for 30. And I'm going to, let's see, I'm going to make this one sharp as well. And then try to mark seam. Unwrap. It looks like we need to apply the scale on the CCDS scale isn't changed. So let's do another unwrap. Now it's okay. Of course for this one doesn't matter. Actually. It matters only when we are trying to create a production UVs, which we're going to put more time and care and to creating them. So let's hide this one as well. And now let's see. We've got six different pieces in here. Which of them? One of them is in here. Let's select by sharp edges. Everything in here is sharp edge basically. Now mark scheme and then just try to unwrap it. Because a lot of is, are the sharp edges. We had so many UV shells created. Now, this one as well, basically the same copy as the previous one. So sharp edges, mark scheme, and then unwrap. Done perfectly. And it looks like we got some more pieces in here that you can go and try to unwrap. So first, let's try to take this piece in here. And actually I'm not going to do anything to this because this is already looking high poly. It's okay. If you do DynaMesh, it's going to cause some problems. So for now, I'm not gonna do anything to this. We were happy with it. Now, this one, let's see about it. Sharp edges, mark scheme, and then select everything and unwrap. First, let's apply the rotation and the scale and do one more on rap and hide it. So this one as well is the same thing as the previous ones. Sharp mark scheme. Select everything and unwrap. Okay, just hide it. And now we're left with these two pieces. Before we go for these three main ones. It looks like there's one more in here as well. Sharp edge. And then Mark seem unwrap them perfectly. So. But before that we need to go apply the rotation and the scale. And one more. We've got an unwrapped it's okay though hide it. And then this one as well. Nothing so complex. It's only a ring. Sharp edges smart same. And unwrap this one as well. Let's select sharp edges. For most of the time, this sharp edge is really working so well in creating the UV seams. Unwrap and it's good. So now let's go back. And it looks like there was something in here. Let's select this one. Okay, this is it in here. So this is only one UV shell. And because we have a lot of unwell that vertices in here, It's doing some funny things in here. We care only about separating these, so I do not really care for now, of course later on we will create good UV's for them. So now we've got these three main pieces in here. Let's just start with this one. So now just select the sharp edges for now. Let's see. I'm inspecting around the mesh to see if there's anything needs to be captured. So mark seam and then select everything and unwrap. And I'm just inspecting around the mesh to see if there's any problems that we could fix or not. Okay, Let's Mark Simon, this one as well, and take it and unwrap. So everything is good on this one. So just take it and hide it. And the next one is this one, which is really simple piece. Select sharp edges. It's doing a good job in here. And I want this piece in here to be smooth basically. So now mark scheme, select everything in polygon mode on rap. I'm just inspecting around to see if there's any problem to be fixed. Know, everything in here is okay. I actually like it that this one goes around and we do not have any seam in these areas. Okay, let's go back, hide it. And now this is the piece that is going to finish this lesson. First, let's go and select sharp edges. And Denmark seem to want to unwrap to see if there are any problems that we're going to fix. So first, I'm going to take this edge in here. Mark seam on this one as well. I'm going to mark seam on this one. Just select these mark seem, okay. Then these ones as well. We can convert them to seem because I want these areas to be smooth it out. Mark scheme. Then this one on this one. Okay? There are some inner geometry as well, which has been fixed by default. So I want this seam in here as well to be marked. Now, let's leave it. I'm just keeping that. Just like so. Now let's do another unwrap. Perfect. Now let's take this edge. Right-click. Clear sharp. I do not want to make this a seem clear sharp. This one or this one that goes all the way to there. So right-click, clear sharp. Now it's a very good result. Now take it and another unwrapped to make sure that everything is alright. So now the unwrapping is done. Let's Alt and H to bring everything back. Now the next thing that we need to do is taking these unexplored on to ZBrush. But before exporting, one more very important step is to take these and try to triangulate them. So now e.g. I'm going to take this one and try to triangulate. Okay, perfect. And now I'm selecting everything in here. This one as the active object shown in light orange, just controlling L. And then link, excuse me, copy modifiers. Now everything has been triangulated. No matter what. Now the next step is taking these and try to export them. But one thing is that I do not attach them because I'm going to take these as separate sub tool inside ZBrush so that the work could be easy, more easy, and much, much more manageable. So now let's take all of them. We've got 44 pieces and then I'm going to export them as FBX and just call it ZBrush. Then limit to select the objects and hit Export. They got exported. Let me take a backup from the scene. And now we need to important, so important and go to the file. And this is it, it open. Now we should be okay importing that. You're going to import it, just drag it out. And there shouldn't be any problem because we triangulated them and it's good to go. And when you take a look at the sub tool, you see that 44 pieces got imported and go to sub tool menu. And you can see them if you want to isolate it, just select the sub tool, Shift and click. Okay to be able to see that and try to hit F to zoom on it. Now it's done. And we can basically go try to a backup from this. And I start, excuse me, the high poly process down wrapping is done already. And we're going to stop the lesson in here and dedicate some lessons into the high poly sculpting of these. And then the next step is to make the low poly version from the base measures that we have. That way, we're gonna go all the way back to the base measures which they are. And then we're going to duplicate it and tried to make the high poly from them. Okay, now I'm going to pause this lesson. And in the next one who will go and try to make the high Pauline ZBrush. And that should take a few lessons to do. Okay, See you there. 27. Dynamesh The Result: Now finally, we're all set up to start the high poly sculpting. And it was a good idea to separate these sub tools into different sub tools by not attaching them inside Blender. Because if you attach this one, e.g. you would get something like 30 sub tools in one mesh. And if you go and try to DynaMesh it, because it has a lot of complexity. One, you're getting a lot of errors. And two, you're going to get a very high amount of polygon on, only on one mesh. So that would be really un-optimized for a sculpting. We didn't attach them inside Blender so that we have different sub tools in here. And we can go and start to work on them differently one at a time. So now just go on the sub tool hold down Shift to hide everything else but the sub tool that you are taking a look at. So now we've got this one. Let's see what we're gonna do about it. This part is a bit time-consuming because we have different sub tools in here. You need to go set auto groups with UVs and then do a DynaMesh to see which resolution works. It might take a bit of time, but it's going to be worth it in the end. All of the time is from the DynaMesh process because it's going to take a bit of time to add some subdivisions. Now, make sure that before doing the DynaMesh, you go head or groups with UVs. If I hit Shift and F, you're going to see now everything is part of the same sub tool. If you hit R groups with UVs. Now you see based on the UV shells that we created in Blender, everywhere that we have a different UV shell, we're getting different colors. Now this makes it a perfect case for later on if you wanted to mask by poly groups or if you're going to poly groups or Polish by palate groups are published by features. This is very important to the workflow. So now I'm going to DynaMesh resolution of 128. That definitely didn't work. So now this means that we need to up the resolution a bit. So let's go 4512. And this one didn't work as well. You see now, because we do not have a lot of polygons to separate those poly groups, we would get a lot of arrows like this. So that is why I told you to go and set high numbers in here. So now I'm going straight to two k DynaMesh. So even to k, You see we get some errors in here because there isn't a small mesh and the DynaMesh is going to be a bit lower on the polygons. Now, let's go all the way to four k and now DynaMesh, so this is going to be a bit better. And if this one doesn't still work, you can hit Control and D while having this smooth turned on. And you can find that in this geometry tab. And then we have the divide in here and the shortcut for that is Control D. And make sure that the smooth is turned on as well. Because if you hit control D, it's going to smooth the result of it. And giving you a lot of polygons to work with. One thing that I encourage you to do is when you do Control D, it creates a stepping in here that is sub-division levels just hit Control and D, Now we have 30,000 polygons, excuse me, 300,000 polygons. And now, in order to make that real time, who can go hit the little lower? Because this is a stepping and we can come back to previous levels just like so if you want to freeze this and make this one does first level of sub tool, you want to go delete lower because some of the operations inside ZBrush require you to revert back to the default stage, which is this one. So if you are going to make this one, the 300,000 polygons just hit Delete lower. Now you see you're no longer able to go back. So now we've got this and now it's time to go and move on to the next pieces. So this one is just like that. Let's go. First. We need to set R groups with UVs. This is very important. Then set this one all the way to four K. For bigger measures, you do not need to go all the way to four k because it takes a lot of time and it will create a huge ZBrush file size. And I encourage you to have some backup files from this e.g. in here you see that some backup files, and I'll say regularly maybe 10 min, 20 min, a new file size. And our create maximum of maybe four or five, and then save on them incrementally so that I have a good backup file so that if anything goes wrong or do not need to go back to the previous stage and start from beginning. I only start maybe ten, 20 min before. So now I'm going to create a new file. And now you see because we have added some more polygons, the file size has increased. So you need to keep that in mind as well. So now let's set it to four K and DynaMesh. And if you want to zoom, just hold down alt and use the left mouse. Drag in and out to zoom in and out. So now Control D once and twice to get this amount of polygon. And if you want to make it the default, you can go back to the geometry tab and try to hit Delete lower. Since this one is a regular one that I use a lot, I brought it to this viewports in here so that I can use it without needing to go to the geometry tab. Now let's go for this one. Now this one, let's set it to two k. But before setting that to k, It's really important to set it to polar groups by UVs. Okay, now we've got this. Let's DynaMesh, Okay, now you see, because the mesh is a small, It's not holding out so well. So we need to go all the way to four K for this one. Now you see we get a good amount of mesh distribution in here. And if you want, you can go Control D to add some more subdivisions. But for now I feel like it's enough. So it all depends on the complexity and the size of the mesh to see how much polygons you get when doing the DynaMesh. Now we've got this or groups with UVs, and then let's DynaMesh on for k. And you see on this one, even on for k, We're not getting a good result. So I'm gonna go back and in this case, I'm smoothing first. Just hit Control and D, and it is smooth. But we need to go and disable this smooth option. So now control the ones. And now you see it adds some more levels of subdivision twice or three times and now delete lower to make this one the active. So now let's go set the DynaMesh two for k and DynaMesh. Dynamesh is not working on this piece. So we need to do one more thing. Let's go back Control Z to go back to the default stage. Now, I'm going to hit Control and D without decimals options, just disabled the smooth option. Now. Smoothing couple of times to add a lot of support loops like so. And now I added three levels. You see in here we have four levels of subdivision. This is the first one. This is the second one. You see the amount goes up until maybe near 300,000 polygons. Now after this one, I'm going to enable the smooth option because we have a lot of support loops in here. Now, if you hit the white, you can see that the result becomes a better smoother. Just like so. Now we have some smoothing. And if you want to polish that even further, you can go try to, excuse me. Control Z. You can just publish by features. Let's see the result. Okay, it's not too bad. We could use this. So if DynaMesh didn't work, he can try to divide it without a smooth, make it maybe four subdivisions or three subdivisions depending on the complexity of the mesh. And then one final subdivision with a smooth turned on to make the result is smoother. Okay, now, let's go for this one and this one as well. I feel like DynaMesh shouldn't work because the mesh is too small. So let's go to four k first or groups with UVs. Dynamesh. It worked. And it's working. There's not a lot of problems in here, so I'm happy with it. Now, let's go for the next one, which is this one. And I felt like this one should work as well because this is the same as the previous one. First or groups with UVs and then DynaMesh on for k. Okay, this one worked as well. Later on, we will come back and try to do some high-quality sculpt on these. But for now, I'm only going to sub-divide the mesh. Now, this is a mesh that has a good amount of complexity and it should not be DynaMesh on a four K e.g. because it would take a lot of time. And the result is going to have a lot of maybe 1020 millions of polygons to it because the mesh is very complex in comparison to the previous measures. Now, we have only one poly group. Let's go poly groups with UVs. And it's doing a great job. That C, Now I'm going to set it to K. And had DynaMesh. Now is it because the mesh is really dense, even on two k, We're getting one millions of polygons. Like you see on these areas, we're getting some bad polygon distributing because it doesn't have a lot of polygons to support that separating loops. So I'm going to go back one step, ten is in here. It should really support the separation. So on this one, we need to go for K. Okay? Now, DynaMesh, now you see on for k, We're getting for millions. And you see in here that line is getting represented in here in colors. Because we needed a lot of more polygons to work with. Okay, they should make a very good result later on when we do the Polish. So for now let's do a Polish test once or twice. And you see the result gets smoother and smoother every time that we go. Like so, but I do not want to smooth it right now. You see now we have a really high-quality results. Let's go back to the previous one, which is this one, you see a lot of jagged edges. This is a startup that, and this is after some subdivision levels that excuse me, Some polish features that we added. So I'm gonna go back to the stage that we had for millions of polygons. Now, it's good about this one. Let's see. And because this is a very complex image and it has a lot of complexity, I need to set the resolution all the way to four K. Okay, but before that, let's all groups with UVs. And let's DynaMesh on for k. Okay? Now after that DynaMesh we get near to three millions of polygons. And let's see about these are small places. Always look for problems in these small areas because lack of the polygon will show itself really fast in these areas. Okay, now, this one is perfect as well. Let's go for this middle one. And that's if there's an invisible problem now, first Auto Groups with UVs, and then I'm going to set it to four K, doesn't matter. Dynamesh. This one is very good as well. Now we've got all of the poly groups in place. And you see even on these smaller areas were getting very good results. Let's just try to take a look. It's very good. So now let's scroll down and start to work on these smaller pieces. So this is the one that we have the lamp in place for. Later on. This is going to be only takes shirt with emissive details. So for groups with UVs. Now, let's set the result to k maybe. Then DynaMesh, because that is a small mesh. It was really fast to add the polygons, but now the polygon is too small. So for k, and now it's better. So now let's go for the next one. This is one of the smaller measures as well. Or groups with UVs at for k and to DynaMesh. And it's even on for k because this is a small mesh. It's not doing a great job. So one way to fix that is going and subdividing. But first, turn off the smooth control D couple of times. Now, once more. Now we have a lot of polygons in here. You see 300,000 polygons. Now add the smooth option. And control D wants to add this smooth option. And if it didn't like it, you can go for the Polish, try to add a bit of polish to make the results even smoother. Like so. And if it didn't, Let's do something else. And it happens and I'm happy to such a problem happened. So let's go back to the default stage. I'm going to go for DynaMesh, but I'm going to disable the blur because I do not want to smooth that. Of course we need to set the auto groups with UVs. So it looks like we need to redo that again. Let's first head or groups with UVs and then set it to work. But I'm going to explore one more method to hold the shape of the geometry. And to do that, I'm going to duplicate this mesh. The duplicate option is available in this sub tool. Just try to duplicate and hide this one for now. And try to only work on this. So now I'm going to DynaMesh at the resolution of work a DynaMesh now we get a simple mesh. Now we need to do a project and project the details from this image to this image to make the shape follow the same one. In order to do that, we need to subdivide this a bit because now we have 4,000 polygons, which is actually not enough. So Control D, maybe to go to 1 million. Then the lower. You see now we have a lot of polygons like so. And now we need to activate this option as well, this polygon in here. And then there's a project option in here, the project all. Now I'm going to project the details from this backup mesh that we created into this mesh that we just made a smooth. So while having this one selected and having this one being shown to get something like this. Start to project all. Now you see, if I turn this one off, this is the result with DynaMesh and getting projected. And this is the low-power, low poly result. This is the high poly result, 1 million polygons, and this is the low poly result, less than thousand polygons. So we use that mesh to be as a cage to project these details onto the mesh. And now if you're going to make it polish, you can go and e.g. try to polish Bipolar groups to make it a bit smoother. Like so. E.g. Polish by features, let's use, you can see we get a result like this, but it's going to be better than nothing. So now I'm gonna go for that backup mesh and delete it. Now, I'm not seeing this one. Okay? This is it. Now, let's auto groups with UVs. For k and DynaMesh. It didn't work as well. Now we can try to control D without a smooth ink. Like so. Add a lot of polygons and then one smooth, the smooth that out. A bit of polish. And let's use the accuracy of polish to make it a smooth therapy. Like so. Now we have six millions of polygons. This is too much. So let's go back to this stage and later on we will come back and try to fix that. But now I'm only trying to DynaMesh to results or groups with UVs. For k, DynaMesh added some smoothing, dividing, I mean, without activating the smooth to add a lot of support loops and then added one final, the wide by activating this smooth to a smoother result. Now, let's increase the Drosophila, is it, you can see that we can come back and try to polish that using the smooth brush and even polishing that will give us a good result. Now this one or groups with UVs set it to four K, blur to zero. And DynaMesh, this one is better. Now just try to control these sometimes to make it a bit smoother. Like so. And delete lower liter, lower subdivisions. Okay, now we've got this one. This one is smaller as well. If you want to get a better polygon size on these ones, you can go back to Blender and try to resize the mesh, e.g. resize it by ten, bring it into ZBrush and try to DynaMesh that way you will get a lot of more polygons because the mesh is bigger and you're going to get more polygons or K. After that. After bringing that ten times bigger mesh, you can try to export it back to Blender and try to re-scale it to the default. But we saved ourselves a lot of problems using this method DynaMesh and Control Z to make it a bit smoother. Okay, now this one auto groups with UVs on for k and try to DynaMesh, okay, This one is good. Control Z, Control D couple of times. To get those. Now we've got these buttons which will need to smooth k for k, having the older groups with UVs and DynaMesh. Okay, This one is good Control D until here. Now let's go for these ones. Or groups with UVs, K, DynaMesh. This one is good as well. Now control the couple of times to add some subdivisions. Now, this one, we tested this one previously. So now we're ready to make that four K DynaMesh control the couple of times like so. Then we got this as always auto groups with UVs and do a DynaMesh. Now, this one is good, control the couple of times or once. And then hit F to zoom on it. And then shift enough to bring the poly groups. And now we can go for k, DynaMesh Control D couple of times. They got this. Actually, I'm not going to do anything on this one because this is now really high poly. But we can go try to control D, to add a bit of more subdivision to try to make that a bit smoother. Okay? Now we got this one. Actually, this one is, I believe, part of the same sub tool. It hasn't been UV. Now, I hit DynaMesh. Let's go on for K. To preserve all of those details. Later on, we'll come back and try to sculpt this just Control D couple of times to add enough polygons for later sculpt. Okay, now we got to the headphone piece. And we can go or groups with UVs because these ones are from the different poly group k for k and DynaMesh. And in order to make that a smoother, we can try to control the couple of times, like so. Now this one. Or groups with UVs on for K, try to DynaMesh. It did it uncontrol the wants. And now the connector shift. And after blueprint, the poly groups are a group with UVs. And then on a four K to a DynaMesh, ZBrush crashed and I had to restart it to get back to here. So because I saved that frequently, I'm able to easily get back to this stage, okay? On this one, I'm not going to use the DynaMesh because DynaMesh adds a lot of subdivisions. So on this one, just hit Control D while having the smooth. Okay, that will make that a smoother. Like so. Now let's go for the next one. Control D again. And once more. Now we got back to the stage that we were before. And I'm just trying to save though that are not lose any progress. Okay. Shifting groups with UVs. It's okay. And now let's go to four K DynaMesh. Now it got a good result in here. Let's try to take a look at it. Okay, very good. And now we can control D to add some smoothing in here. Now this one shift and F to bring the poly groups. Now these are the poly groups. Let's set that to four K and DynaMesh. Now the mesh got dense. It's enough polygons. And now it's time to go for these speaker phones or groups with UVs. And this one we can really go to for k. This is one of the important measures that we have, DynaMesh. And it's awesome. Let's try to zoom. Okay, It's good in here. Control D to add some more subdivisions. And go for the next one. Just try to find it in here. Or groups with UVs or k. And then DynaMesh. Okay, this is good as well, Control D. Later on we're going to use all of that smoothing. Now this is the cloth simulation. All we need to do is setting Control D to make it a smoother. That's all. Now, let's see about this one. I'm going to hit Control and D. Let's try to Zoom. I'm going to see if the profile changes are not. Okay, it doesn't. So let's try to zoom now. Now it's given us a good result. Let's see about this one. Or groups with UVs set that to four K. Control D couple of times to smooth that. Okay, now we've got this one. Let's hit auto groups with UVs. Now on for K, it should be good to go. Now Control D to make that smoother. And this one DynaMesh or before that, let's go. Or groups with UVs on for K, try to DynaMesh Control G to smooth it. This one. Or groups with UVs, DynaMesh Control D couple of times to make it a smoother. Or groups with UVs resolution to four K Control D couple of times. Again, I'm doing the same thing on all of these. And it looks like we are reaching to the end of that. And now the hyperbolic creation is done. Of course, subdividing the geometry is done, I mean, by that. And after this one, we can go back and try to do the sculpting on these meshes, which we're going to do in the next lesson. And depending on the time and resources that you have, you can go try to put as much time in the sculpting of this. And the result is going to be worth it. Because the more details that you add, the better normal map you're going to bake later on inside Substance Painter. Okay, now we've got this, Let's see. Just try to control D to add the smoothing. Now about this one as well, I'm just trying to zoom to see Control D if that destroys the silhouette. So no, I'm keeping that. So now on this one, just Control D to make that a smoother. Now we've got these ones are groups with UVs on for k, DynaMesh Control D couple of times. Then we've got this one as well. Or groups with UVs for a DynaMesh Control D. Okay, now, the process of subdividing the mesh is done. Now we get nearly 45, 40, 54 millions of polygons. And that has been distributed alongside all of the subtitles. And that is a good thing because having one sub tool that has 54 millions of polygons will really hurt the performance. And the sculpting process would be so difficult using that method. Okay, now, I'm going to take a backup from this one. The next one we will try to smooth the result and try to do some sculpting on these ones. Okay, see you there. 28. Sculpting Smaller Details: Okay everybody, Now we're ready to go and start a sculpting. But I'm going to tell you one thing and that is not to over sculpt something. And although we're going to sculpt some high-quality details inside ZBrush. But I tell you that start to just sculpt and try not to do a lot of the formation inside ZBrush. So what I do mean by that, I'm going to export this one as an FBX. And let's try to save it. Imported inside ZBrush. Okay, that is in here. Let me import. So let's drag it and start the creation process. Now, this is the low poly which we're going to bake the details on. So now I'm going to make a duplicate. Just try to see this one. And I'm going to DynaMesh on for k. Let's try to DynaMesh now got a high poly and nine millions of polygons. And the amount that we get is because the mesh is 2 m and it's a big mesh. So we're getting a lot of polygons. So now one thing for sculpting, keeping in mind is that you don't want to go and try to sculpt something like this, e.g. and try to do the sculpting like this. Of course, if you have the reason for that, It's no problem to do the sculpting like this, but that way you need to make the low poly from this one either or you can bring that in inside Blender and try to match the low poly. Again, this one against the high poly for baking details. Because now you either, if you are going to bake the details from this high poly into low poly, because there's a lot of distance in between them. You should either try to expand the cage that is going to make some problems or he can go and try to match this one against the source mesh inside ZBrush Blender or whatever program that you have at that requires some extra steps in making the process. So now, in order to do that and be easier on us, we're going to sculpt some really, really subtle details, e.g. just bring the intensity down and try to make details like this. And for a detailed like this, you do not need to push the case that for, that is very close to the low poly detail that we have. So we're only going to sculpt details like this one. Very subtle so that they appear in normal map. And to prevent some extra steps in 3D matching the high poly and low poly against each other. So now let's open the file. Now because all of the measures are getting shown where getting a bit laggy in here. So in order to save the performance, we need to work on details one by one. And now we see we're no longer getting those legs. Now because this mesh is distributed a bit. We have some small bolts, but they have been distributed across. The camera. Couldn't really find a middle ground in here to start to zoom. So you see we get some problems. So in order to make it easier, we can go try to split two parts so that we start to get only one bolt at a time. So if you hit Okay, now you see we get 1 v in here. If I hit F, I'm able to zoom on that and try to sculpt on it. So now let's make the brush size is smaller. And now we can go try to sculpt details. And the brush that I encourage you to use is the trimmed smooth border, trim adaptive. It's about this one is too strong. We need to bring the intensity down and try to sculpt some subtle details. Something like this. And this later on will really shine in the normal map. When we try to make the normal map, it will bake a lot of these high-quality details in that normal map. And it would be very good for detailing inside Substance Painter. And the next one that I encourage you to use is the trim adaptive using a lower intensity. And then the next one is the trim dynamic. You can use this one as well. It's a very good brush and you can use to detail a lot of details. It can bring the intensity up to be so strong on that. Or you can bring the intensity down and to be so subtle. And this is something that we like to really a sculpt and this term dynamic as well. He's very good for sculpting metal pieces. You see? It tries to confirm to the normal everywhere that we go and add some of these details. And you see just adding some storytelling bits to put this piece in here. Like this bolt has been used a lot of times. It has been beaten. And you can think of the storytelling and started applying the effects. So now let's zoom on it and try to do some sculpting in here. You can smooth that. Or you can try to do some sculpt in here. And try to use it. Like so. Now, because I used that and I really liked it. Let's go to Preferences, Config Enabled customization here I'm going to hit Control and Alt while dragging this one into the viewport so that I use it regularly. The stream dynamic is awesome. Okay, now preference disabled the customization and a startup config so that every time I load Z brush, this brush is going to be in the viewport as well. So now, in order to make the brush more aggressively, can go and try to use these Alphas. The one alpha that I tell you to use is this one. It makes it a bit more aggressive because it adds a lot of these whites in here, which is going to be perfect for adding some details. And the next one is this one. So it becomes more aggressive. So let's go back and try to use this one. It's a bit more subtler. One thing to notice is that we do not want to put a lot of time and effort into sculpting these pieces because this bolt against the whole picture is a very small thing. You see. Now, we were putting a lot of times in something like a bolt that is not gonna be seen even from close-up. So you need to have that in mind. Pay attention to the big picture and do not try to sculpt some details and put your time and attention into pieces that are so crucial, e.g. the radio itself. Maybe these earphones, these cushions had bands and things like that. And the bigger the mesh is, the more important to the project that is. So you see a lot of those details that we added are not even visible in so close up. We need to zoom on it so closely like this, that isn't possible inside a gameplay or something like that. So a lot of these sculptor details would be really wasted. Just have in mind when you're trying to sculpting, just place your effort on places that is going to be seen. Now that we know how this is going to be, Let's try to sculpt on details. Then you can try to bring the intensity up and use the pen pressure to control how much you're trying to sculpting. And I know that this one isn't going to make it to the final process. So I'm not going to waste my time trying to sculpt something on this because as you see, let's go back. This one is in a place that is going to be baked and not be seen at all. So I'm not going to waste my time doing sculpting on that. Okay, let's try to have some sculpting in here. Like so. And a lot of the finer details later on would be add inside substance e.g. adding a lot of those fine grains. Some grunge is maybe those details later on. We will add them inside substance. And the most important areas for sculpting are these edges. The surface itself, e.g. this area in here, and the cavity parts, which are these ones. So in order to have better sculpt, you can try to invest your time on those. Okay, that was about that one. Let's try to make the brush size a bit bigger and try to sculpt some edge details on this one. Very subtle because as I said, this is going to be only a baked area, even not making that to the geometry piece, it's going to be only based on a normal map. Okay? Just try to add some edges sculpt and maybe some of these cavities sculpt as well. Very, very subtle. We do not want to do. He'll changes. Okay. Now, it's good when you try to take a look at it. It has a lot of more details. Just select a sub tool and hit F to zoom on that and hold down Alt. Drag mouse in and out to zoom in and out. Just try to make the brush size bigger. And do not put a lot of time in sculpting these details because as I said, a lot of these details are only going to be baked in normal map. And for the player, they can never see that. But it's good to add some details. If you want to make reversed the sculpting, you can hold down Alt e.g. this brush size, this brush that we have, the trim dynamic is by default a z subtracting. And it means that if we try to sculpt, it would subtract from the details. But if we hold down Alt, you see this negative icon that appears in the center of the stroke. You see if I hold down Alt, it becomes reversed of the result. If the brush is additive, It's going to subtract. And if the brush is subtractive is going to be additive. Some more details in here. Of course later on, we will come back and try to decimate these details so that when we import them in Blender. We wouldn't have any problem because blender, although it has progressed debate in holding a lot of polygons and rendering them. But it doesn't hurt if we optimize this so that we do not get any problems inside Blender. Ok, now, this one, let's try to add some edges, sculpts. Very subtle. We do not want to add so much details. And using your mouse pressure, you can try to limit the effect in some areas and make it a stronger in others. So this one is too much. Let's go back and try to do some regular sculpting. Instead. I just try to save frequently so that you do not lose any sculpting process. And a promising nothing hurts more than having to really sculpt the process that you have already sculpt it and lost due to the ZBrush crashing. Okay, now, on this one as well, I'm going to split into parts and try to work on them one by one. Just hit F to focus on it. And we have good amounts of polygon. Let's try to add more edge damage as well as cavity damage, the surface damages. Later on, we will add them inside substance. And this is a step-by-step process. Some of the details will get added when we do the blender thing. Some of them later on inside ZBrush, some of them inside painter, and maybe later on some of them inside the game engine that you are going to render lag. Because this is going to make it a game engine. So you need to have that in mind that you do not need to add all of the details in one go. Okay. Now, again, some subtle edge damage and warping these edges will really later on helped the texturing process and the reader that you have. The better texturing process you're going to have inside Substance Painter. Just try to have some edges sculpt and use your pen pressure. So that's every time you do not get the same result. Saying here we do not have a lot of them. But in some areas like this, we have some more sculpting. And this is the key. The variation should be always in mind when you're sculpting. Never tried to do the same as sculpt again and again. So the variation is the key in having a good hyperbolic creation. And as I said, I could go and try to sculpt something like this, but since that is never going to make it in the high poly, excuse me, in the final product. I'm not going to sculpt it. Okay. Just a bit more and looks like we're done with these bolts. For this one, we're not gonna do anything because it already has these details, but I'm going to Control D couple of times to add that as smoothness because this one as well is going to be baked and not the geometry level like this. And I'm happy with it. I'm not going to do anything to it. Now let's go for this one. Then this one is good as well. We already have that smooth. Let's try to take a look and it's okay. So this one as well. I'm not going to sculpt anything because that is already in a good area. Let's try to zoom. Okay, we've got this Control D couple of times. And you can go try to polish by features and these kinds of things to make that EBITDA smoother. Try to separate that by poly groups and try to do the Polish. Use different methods. Now, this one isn't good. This one as well. Let's go for the next one. I'm going to make these only smooth. Now we have this one, DynaMesh Control D. Once more. Now, this one is okay. Let's go for the next one, which is one of the main pieces that we're going to deal with. And I'm going to leave this one for the end of the process. Let's go for a smaller and simpler pieces and then leave these more complex one for later when we're done the simpler pieces. So I'm going to keep this one, this one, and this one in here. And then this is the one that we're going to use for a lamp or something like that in there. So now let's try to control D a couple of times to make it a smooth. And that's it. I'm not going to do anything more to it. Now. One, we have more than 1 million polygons. Let's try to do some sculpting on it. But before that, let's Control Z a couple of times because we have the poly groups in here. Let's see what the Polish does. It already twice to smooth some of these results and looks like we got some problems in here. Let's see. Just try to control Alt and select this one. Since this one is a small glitch, let's not do anything to it. Let's add a bit of polish as well. Then we can go try to introduce some edge variations as well. So let's go in here and try to it can hold down Shift to do some manual smoothing as well. Then use that trim dynamic to add some surveys variations. Just try to smooth. And I promise you that this is going to bake very well inside a normal map. The more detail that you add, the more special the piece is going to be. But remember that nobody has all the time in the world. So you need to put your time in places that makes the most sense. E.g. we can have some close-up shots on this one. So we can go and try to add more details. There would be no problem because this piece is going to make it to the final project. And this is going to be on geometry level. So let's do some smoothing on these areas, especially on these edges. And do not try to over sculpt something. Okay, this one as well. And some sculpting. And here you can hold down Shift to smooth the result as well. Okay, Now, I'm happy with this one. Let's go to the next piece. The next one, which is this one, let's try to do a bit of a smoothing. You can try to make the brush size or smaller and try to have some Azure sculpting only. Then try to do the smoothing. Because we do not want to have a lot of sculpting on this. That is a very small button. Try to just do the sculpting. And let's say which face, which side is facing the player. You see any detail that we add on that side other than this one is going to be lost. Okay? You see every detail that we add should be only present on the side that is facing the camera. So you need to have that in mind, the details that you add to that side. Let me isolated that all of the details that you add to this side are going to be lost. So you need to have that in mind. You do not need to put details on places that the player has never be able to see. Okay, let's bring this one. And let's see what we get. Let's see where this one is at. Its in here. And we can try to zoom on it first and then try to add some very small edge details. Like so. And after all of it, you can hold down shift and try to smooth the result. And the surface details on these ones later on will be added inside substance. Okay, now let's go for the next one, which is this one. So I'm only adding details on the places that the player is able to see. And this is another optimization trick that you can use in order to save a bit of time. Okay, Now let's go for the next one. Let's see where that one is. Okay, let's try to zoom on it. Now we have these. Just use the white to add one more subdivision. And now let's use the Polish by feature or the regular Polish to see which one gives the better result. Okay, it looks like this one. It's given us a good result. So I'm going to continue with that. One layer of polish as well. I don't know. It's a good result. And you can go try to sculpt some work. But I do not see that. Reason why should we scope that much? Okay, now this is good. Let's add one more subdivision and try to add a bit of polish. Like so, then a bit of edges scopes would be okay alongside with a smoothing these results. So for now, let me use the masking feature in here because we have the palate group feature, we can go try to create the mask based on the poly groups and now just grow the mask, blurry it, the bid, grow a bit more and try to Sharpen, Grow Blur. And I'm going to use the polish to polish these areas because the edges have been masked. And I can use this one only to polish these edges. This is good. Now let's disable the mask. And we can go try to manually sculpt some of these edges. And never try to sculpt on all of the edges. Because if you sculpt on all of the edges, the player couldn't really focus on the areas where that is important. So over detailing is another problem that can occur too. E.g. if I go and try to sculpt owner of all of the edges, it will be so noisy so the player couldn't focus on important pieces that you have a sculpted. Sculpt some of the edges and leave others on sculpted. That there's a resting place for the eyes of the player. And on this backside, I'm not going to sculpt because nobody's going to see that. So a bit of manual sculpting on this side, some of these edges as well. And you can try to change the brush size to see which one of them works better for you. On areas like this, it would be okay if you're going to increase the brush size to be faster a bit on a sculpting process. I don't want to see a lot of these jagged edges. So let's try to smooth them by only sculpting. Okay, now let's apply some edge damage on these parts as well. And some sculpting. In here. Let's be more radical than the sculpt and just try to add some surface damage on this one. And this trim dynamic is very good for sculpting these metallic details. Now this is good. Let's go and add some really subtle details on here. And you can hold down Alt, release it, be subtractive as well as additive on adding these details. Now, this is good. So now let's move on this one. And this one is one of the ones. I'm not adding so much detail because the detail on this one later on would be added inside painter. And I will rely on texture rather than the sculptor details for sculpting this piece. But let's do some Polish. And maybe some Polish by features separated by poly groups. Like so to make the smoothing. So now let's take this one and this one as well. Later on, we will add the details inside substance, but let's add some Polish by features, followed by a bit of smoothing. Okay? And then this one, it only needs to be smooth. So let's polish by feature separated by a poly groups. This is going to make the features appear smoother. Then you can go try to smooth these areas. Just in case if you're going to add some details, you can go and do that. So just try to make the brush size bigger and try to do an overall is smoothing pass on this one. So now this one as well. We can go Polish by feature because we have a lot of polygons. Let's try to polish by feature. This is going to make it a bit smoother. And the details on this one, again, we're going to add details inside Substance Painter by adding textures. So I'm not going to do any sculpting on this. Now on this one as well. Let's do some Polish by features and maybe some Polish by poly groups as well. And a bit of smoothing to smooth that overall. Okay? Now. On this one as well. I'm not going to do anything because it's already a sculpted. So this one is okay. But the next thing that we could do is applying some polish to make it a bit smoother. Let's do aggressive Polish, like so. To get the details done, again, this one is okay. Let's see about this one. Looks like this one is a smooth in itself and doesn't need any polishing. This one as well. Now we've got these ones. So let's do some sculpting on this. We already have those details. I'm going to smooth out these edges first. Like so. Just try to hold down Shift and try to sculpt on these areas to make that a bit smoother. Especially on this edge areas where we had that bevel. If you want, you can go and try to add some edge details on that. Like so, try to be very subtle. Okay, Now we're done with this piece in here. Let's go to other pieces as well. Just try to smooth it and try to add some damages in here. We do not want to add a lot of details, just some tiny bits of details, especially on the edges where they are the most visible to the player. Okay, I'm happy with this. Let's go for the next piece, which is this one. Zoom and try to do so much damage. As I said, they can try to put as many times, as much time as possible. But since the scope of this tutorial is going to be really limited, we're not going to add as a lot of sculpting. But you can go on your own and try to add as much detail as you want. And try to use your own experience in adding details. This one is good as well, and this one only needs to be smooth it. So we got this. Let's try to polish by features like so. That will add the smoothness that you want. Like so. And then we can do one polish to make the edges a smoother. Like so. And now I'm not going to add any more details to this one. We can go try to add some edges called pedophile like that is not necessary. Let's keep it the way that it is. Now we got this one, this one, and some of these smaller ones. So now, because these two are a bit more complicated, I'm going to leave them for the next lesson where we sculpt these alongside with those radio pieces. But for now let's go for some smaller ones. And I'm going to leave this one like this. And this one as well. Let's see where this one is facing. Okay. It's in here and only this front side needs to be sculpted. Just some very subtle details. Now let's go for this one and this one as well. We could use a bit of sculpting and some smoothing, especially on this glitchy areas. Just try to make the brush size bigger and try to smooth some of those areas. Because this piece is only going to be seen by the player. This front side, even later on, save some texture and geometry. We can go and remove the backside. And we will do that in the high poly lesson, excuse me, the low poly lesson. So a bit of smoothing. Remember that for the gameplay. And to be more optimized, only the places where the player is going to be seeing are important and not the areas that the player has not going to be seeing. Just some small details. Like salt. And this one. Very subtle Azure sculpting, like so. And a bit of smoothing. We could add the surface details here in ZBrush, but I decided that it would be better if we add them inside Substance Painter. We will procedurally add them. It would be a lot faster and more efficient for the production because that is going to be procedural and you can limit them to hide channel e.g. to add some procedural height inside painter. Instead of manually sculpting them inside ZBrush. K Control Z, couple of times to go back. And we can smooth that these areas like so. Now you see we have more than 60 millions of polygons. After sculpting these details, we will go back and try to decimate them to a more reasonable number so that we wouldn't get any problems inside Blender won't be important. Right now if you go and try to import this into Blender, it's going to really hurt the performance and blender even might not be, it might not be able to run that. So we need to optimize that so that we don't get any problems. So all of the process is going to be automated inside ZBrush, we're going to use the decimation master. It's a free plugin shipped with ZBrush. And we're going to use that to optimize the geometry. Okay? Now, this one and you see how much these edges sculpting will try to make the piece more natural. Rather than having something that is really just like a machine or robotic piece. It adds the human feeling to it. Like someone has done something to this, damaged it. Basically any kind of storytelling element that you can think of. Okay, now, this is the cushion. I'm going to keep it the way that it is. Now. This one. Are these panels in here and now the next cushion. Now, let's hit F to see where they are. They are here. Let's try to zoom on them. And only very small sculpting. Because as I said, these are only going to be baked in the normal man. Nobody ever is going to see what is going on there. So why wasting a lot of time on them? So let's see. They are here. Now the last bit is done in here. Okay, now sculpted all of the small pieces. And now we're ready to move on to major pieces, which are these earphones and radio panel pieces, which are going to sculpt in the next lesson. So I encourage you to take a backup from the scene not to lose any progress and move on to the next piece where we're going to sculpt these major pieces. See you there. 29. Final High Poly Sculpting: Okay, now, with a smaller pieces out of the way, we're ready to move on to major pieces. And these are the most important pieces because there are going to be seen by the player and they are bigger compared to these smaller details that we added. So this one might take just a couple of lessons to sculpt. And that is going to have the most visual impact on the final result. So now I'm going to start by this piece in here. Let's shift, click on that to separate it. Okay, got this. Now because we have separated everything by poly groups, we can go try to smooth everything out. But in order to make sure that we do not a smooth the result too much I'm going to duplicate to keep a backup and to keep a visual guide so that we do not go too far in smoothing this one out. So now I'm gonna go for Polish by features and try to sculpt a bit more like so. And let's try to bring this one in to make sure that we do not go too much beyond the actual borders. So this one, until you see it's mainly around the same area and it's good. So now let's go for Polish by playgroups. And this one tries to bring the edges more together and leave the smoothness around the center. And it's good as well. Now let's try to take a look. This is the default one and this is after a smoothing. And now let's do a couple of polish in here to make it really stand out. Now let's compare that before. After, you see after doing some Polish, we're getting very good results. Now let's use Polish by groups. Now, let's use the other algorithm. This one is better after doing the Polish. It's going to keep everything polished in the center and bring the edges together to pinch them together. Okay? Now, this is previously and this is after the smoothing. Okay? Now you see everything has been smooth. And for now, we're not seeing any major problems in here. Just try to take a look. Okay, everything is good after doing some smoothing and here. So now I'm going to go for the next piece later on who will come back and try to do some manual sculpting. But for now it's gonna be okay. Now this one was the piece that we got as backup. So let's remove it. Okay, now, it's time for this one. Let's create a duplicate from this one as well to keep it as a backup. If something goes wrong, we will start to work on this. But if anything was our rights, we will compare that. Now, this is it. Let's use some Polish by features that is going to smooth that out. And then some punished by groups to bring everything together using this algorithm. You see this one makes everything stronger, like so. And then try to compare them together. You see, we went from something like this, which is so jaggedy and not so good, into something like this, which is a lot of smooth ER, maybe a bit of polish. Now, Polish by groups using this algorithm to bring everything together back. So let's try to compare them and try to see the other sides. A very acceptable result. We got really sharp edges as well as a smooth results. Okay? Now that I'm taking a look, I'm really liking this result. We will come back later on and try to sculpt more details, but for now, it's a very good result. So now I'm gonna go for the backup piece and try to delete it. And now this is the final one in the radio. So let's create a duplicate to compare that. Start to work on this one. Let's zoom to see. I'm going to use this Polish by feature to smooth everything out. And then a bit of more polishing to really smooth everything out. And then some Polish by groups to bring everything back. So let's Control Z. Let's use this one instead. This one creates more crisper edges than the previous one. So some Polish by features. Let's use this algorithm. No, that was wrong. Let's go on this one as well. Now some Polish by groups, really smooth everything out. So let's see about this. Looks like there are some problems in here. And that is because the resolution was not a strong enough to support these features. So let's bring those back. Ec. We're not actually able to see what is going on there. So actually no problem, because that could be replaced using these buttons and nobody's ever going to be able to see what is going on in here. Okay, now, let's try to take a look and see the site in here. Very good. And this paneling in here. That's good as well. I don't want to make that as intense as the previous one. So let's go forward as one and try to delete it. You see now we've got a very good high-quality results in here. So now we need to go move on to these earphone pieces. So now let's find them in here. Okay, Here they are. Hit F to zoom on them. Now this one is a bit tricky because it has a lot of curvature to it. And we need to make sure that all of the curvature is captured and we do not ruin anything. So let's make a duplicate. Hide it for now. And let's try to polish by features to smooth some of these roundness out. Okay, now you see Polish Boy groups. Let's add some more polish. Okay, and then try to bring everything together using this Polish. Like so. And this one in here could have used more resolution. So let's go back. This is the first result that we got. So let's try to add some Polish by feature. And now some Polish by poly groups. This will really smooth everything out, so I do not need it. Let's use this algorithm instead. Said this one. When you activate this, it's going to the difference between different surfaces. The other one is going to wash everything out. Okay, now we've got these jagged edges in here. Let's do some Polish by feature to smooth that out. Like so. And now you see it's a lot smoother, but it's ruining some of these parts. So it doesn't matter because as I said, all of these are going to be washed by these buttons in here. Okay, Let's leave it. And I'm happy with this result. Let's zoom on here. Very good. Okay, It's a good result. Now let's take this one and try to delete it and go to the next piece. And I'm going to duplicate, remove it, excuse me, not just hide it. Then on this one, try to punish by features. Once more. Then this Polish by groups will really bring everything together. If you want, you can go try to do one more of this polish to smooth everything out and to make the edges are stronger. And then go for Polish Barbie poly groups to make that. So let's take this backup. This was before, and this is after. You see, without changing the silhouette, we're able to add a lot of details. Okay, let's take it and try to delete. Let's take a look at this. Zbrush crashed and I had to go back and redo these pieces. So it looks like let me see, everything in here is done. Let's go back to these earphones. So that is why I tell you to save regularly so that you do not lose any progress. So this is the piece we already know that we can do some Polish by features. And one Regular Polish, Polish Bipolar groups. Having this feature turned on. And try to work with these, we can get a good result already. Okay, now let's go for the next one and then try to select this one and try to work on it. Okay? Published by features. It has a lot of polygons like so, and some regular Polish, some poly, poly groups. Okay, we've got a perfect result in here, and I'm happy with it. So now the automatic is sculpting is done. Now what we could do is try to bring these and start to add some edge details. Maybe some more details if you wanted to see what is going on. You should notice that because we have these three. Let me take a look at them. You see there's a middle area in here. If I isolated, let me try to isolate it. This soil is never going to be seen and it's going to be deleted later on. So I'm not going to do any sculpting on this. The only area that we are a sculpting are. These front sides, these middle parts in here, and this bag pores and anything in-between these ones is not going to be sculpted at all because the result is never going to be seen. And that would be a huge waste of time. So let's try to sculpt and separate these. Try to work on them. So just like always on bringing the trim dynamic, Let's make the brush size a bit smaller. And then try to work on these edge areas to make them more pronounced. And some edge damage you see? It will take the sculpting to the next level. Okay, you see how this one really tries to that industrial filling to this. It has been warped, it has been beaten, it has been used a lot, and now a lot of damage is there. And the more details that you add, the richer the result is going to be. But as I said, you need to keep the time and the limitations of that sort in mind as well. Nobody has all of the time in the world. So you need to keep your time and focus on the places that are the most important. Okay? Now, a bit of sculpting, just try to make the brush size a bit buried. Like so. And see how these edge damages would really push the sculpting into next level. So be very, very subtle. In order to be more subtle, I'm going to make the brush size is smaller. And our left this one and other pieces for the last iterations because I knew that these ones are going to take the most to sculpt. So I left them for this stage. After this one. After sculpting all of these, we will bring them, of course, we will decimate them. Create a more reasonable polygon mesh using these ones. And then we'll bring them inside Blender and try to make the low poly using those base meshes, we will go apply the Booleans that we need and remove the Booleans that we do not need. Okay? Because we need to optimize ads as much polygon as we could. And as I said, this part in here is never going to be seen. So I'm not going to sculpt on it. Okay? This is good for the outside edges. And there are some inside edges. These ones are going to be hidden. You see? They're going to be hidden behind these bars in here and they're not going to be seen. So I'm not going to sculpt anything on them because that would be a waste of time. You see these bars are in front of those and anything that you sculpt on here, that would be a waste. But I think we could go and try to sculpt some of the edges in here to make the edges more pronounced. So let's try to add this. Move, this one a bit, and it will bring these back. You see, now we get some edges sculpting. So looks like some outer edges sculpting is required on these to make that more pronounced and stronger. Like this one. Because this is a plastic material and some warping is expected. So let's bring the Z Intensity down. I'm not going to work all of the edges, only some bits. Like so. Now these two panels in here, Let's go and try to sculpt them. And be very subtle. We do not want to chip all of the edges, only some of them. And all of this is going to be based on the normal map. And especially the geometry that we create on this backside for the low poly is very simple. Because a lot of these details are going to be baked in the normal map. Okay, let's try to take a look. And you see how much detail we have added in here. And now let's go add some details. And the circular piece. So let's try to hide this one only to be able to work on these edges. Even this one is going to be baked on normal map. I'm not going to rely on geometry for this one. Okay, Now, let's bring these back. It looks like we can go and try to have some sculpting on these edges as well. Very, very subtle. And later on you see that wherever we add these details, the texture is going to really look fine and have the most variations. Let's go a stronger in here. And be random and placement of these. Because if you move on a certain pattern, it's going to be visible. Let's try to zoom and have more sculpting in here. I'm going to increase the brush size so that we are a better, stronger on here. So not that much. Only small bits. Okay, It's good. Now, let's go for this one. And on this one, we see only the area in front and on the side. So let's do one thing. I'm going to sculpt on these edges just a bit to add these small details. When I'm taking a look at this piece in here, I mean, this paneling that we did, we might keep this in the low poly. How wanted to bake that on a normal map? But I feel like if we bake it on the geometry itself, it would be a lot better. Instead of taking that on normal map. So we will, we will see these in the low poly creation later on when we talk about that, we'll talk about these processes. Do not worry. We're going to explore all of these. Now, let's try to zoom on this area and try to sculpt something in here. A bit of edge damage on here as well. Some more edge damage in this area. Okay, This one could use a bit of damage. Just make the brush size is smaller so that you are more controlled on the way of sculpting these damages. So now let's try to bring this one up on this top edge and try to sculpt a bit more. I'm just trying to rotate around to see if any area needs a bit of a sculpting or not. So let's go on these edges and try to sculpt these ones as well. I'm trying to add some overall warp around these to make the normal map and look a lot better. And trust me, all of these details are going to look very fine in the normal map. You can go and try to export this one in the same situation without a sculpting any manual detail. But since I really liked to make everything old and dusty, like to add a lot of details. That is personal preference. But you can go and try to add no details when exporting this one into Blender for the baking process. But the reason that I select to really try to add a lot of details and just make everything old and dusty Is that it would cause a lot more challenges than having to create something that is new and really clean. So that's why I really like to make a lot of things old and damaged. So some warping in here. And these ones, I'm not going to do anything too because they are going to be derived in the texture. Let's go for this final piece in the radio. Everything is okay. And because this is connecting piece that connects these two, I'm not going to add anything. I'm just only going to rely on these details. Now the hyperbolic creation of the radio is finished. The only thing that is remaining is decimating. Now let's go for these earphones and try to sculpt them. So hide this one only. And it only takes a bit of edge damage. Nothing more. Just try to randomly paint over these edges. Like so. And if you want, you can smooth the result as well. E.g. an area like this is going to be hidden under the cushion. So I'm not going to do anything to it. Okay. Very, very subtle. So let's see if I can add some sculpting details around this one in here. But I'm happy about this one. Let's go to the next piece. We can add some random edge damages in here. You can hold down shift and try to smooth some of these results out. And if you're not happy with the resolution, you can control D one time to add some more subdivisions so that the sculpting becomes a bit smoother. And some sculpting in here, in here as well. Okay, Now I can declare that the high poly sculpting is done. And I'm happy with the sculpting that we did. Now we have 16 million polygons, which in the next lesson, we are going to decimate. The decimation mastery is very important and it's very powerful insight ZBrush, we're going to use that to make it really low poly, although we're going to make it high poly, but it's going to decrease the polygon while keeping the quality. And we're going to do that in the next one. Okay, See you there. 30. Decimating The High Poly: Okay everybody, now the sculpting is done and we're ready to move on to the decimation. Decimation is optional, but it's going to really improve the speed of working with things inside Blender because blender has some problems with handling a lot of polygons. So now I'm going to isolate this and start to decimate under the summation is so easy, you just use the decimation master plugin, use the preprocess and then decimate on a percentage that you want and it wouldn't lose any quality if you use it. I'm going to merge four of these measures because if we remember, these four measures were part of the same thing. So 12.3. Now we've got these four measures. Let's hide them. And we've got four measures in here as well. Merge down 2.3. Now we've got four measures in here. Let's start to work on this one. So now I'm going to zoom on this as an example. Okay. Let's bring the summation, preprocess and appending to the complexity of the merge, it might take some time for this one, it took 7 s to calculate. Now, let's see on the 20 per cent what it does, okay, Now we see no major change happened in the geometry, but let's go one step back. Try to take a look at the geometry. Now you see we got 3,000 polygons, excuse me, 300,000 polygons. But after that, huge change happened. Now we have 660000 polygons and no major change happened in here. And that is really all the decimation master. It tries to remove the polygon on the places that are flat and keep them on areas that you have a sculpted the most soda. That is why you do not lose any progress and you do not lose any detail on these sculpting pieces. So now let's zoom on this one as well. And then try to preprocess. Then decimate, okay, you see no visible change in there. So now this one is to millions of polygons. This one should be really visible. The amount of optimization that it could do. So preprocess. And it took 7 s to calculate and estimate current. Sometimes it happens the preprocess gets broken. So you need to preprocess again once more. And now it took a minute to calculate. Now let's decimate. With no major change, went back to something like this. Okay, now, let me see if we can try to preprocess even more, to decimate more, just set the pre-process, and now it took 8 s. Let's decimate again. And even more optimization. We went from something like 2 million and-a-half polygons to this one, which is much, much acceptable than having that amount without actually any major change in the geometry. Now, this is enough. Let's go for the next piece, which is this one. And I feel like we shouldn't go too far because this has two sides. And if it doesn't make that much, it's going to hurt the geometry. So just hit preprocess. It took 22 s. And now the estimate, without any noticeable difference, we got the piece decimated. Okay? Now this one is fully millions of polygons. We're going to decimate. And this should maybe take 1 min to calculate depending on your resources. Okay, now let's decimate and a very good optimization. So now I'm going to take a backup from the scene and then do one more decimation to see if that didn't destroy the geometry. I'm going to use it. So preprocess this time should take a very, very lower to pre-process Because we have lower amount of geometry, 9 s. And now this one is very good. Now without a noticeable difference, we got 3000000-100 thousand polygons, which is perfect. So now on this one, Let's just press the preprocess. Then decimate. It should be alright. And we could go one level further. But I'm not going to take the risk because if you decimate too much, it might hurt the geometry. So I do not want to keep it because this one has a lot of separate pieces that and this one may cause some issues in the decimation process. So now the radio piece, this is the backside for millions of polygons. So preprocess. It took a minute and half to two. The high amount of polygons. Now, let's decimate. And you see we went from four millions of polygons to less than 1 million without actually any noticeable difference. I'm going to keep it the way that it is. Of course, you can go and try to optimize it even more. But for the time being, I'm going to label it. And let's take a look at here. You see, because we do not have any details in here, it doesn't have actually any polygons, but the polygons are stored only in the areas where we have the most curvature and change done. And this is the way that the estimation works. On the areas that are flat, it's going to be decimated. The most areas which have the most complexity are going to store the details. Okay? Now let's decimate this one, preprocess. Okay, now, decimate and we've got to have a millions of polygons. Okay, This is good. You can go even further, but I'm going to be happy with this one. Now. This one preprocess and then decimate. Okay, I'm going to keep this is very good. So the next one is this one which is containing more than 1,000,000.5 polygons, which is very, very large amounts of polygons. Now the summate, this one is still too much. Let's preprocess once more. And then decimate. Now, I'm happy with it. I can keep it. So now here's the next piece. I'm not going to do anything with it because the mesh is buggy. And if I try to decimated, we're going to get a lot of problems. So now let's go for the next piece. We have now eight levels of subdivision. Let me just drag them down. Like so. And this should already give us a good amount. Now we can go the geometry tab. Just delete higher so that this becomes the base level that we have there. So you see, this is it. And we get that button done. Okay, How about this one? Let's drag the slider. This would become the base level. Then again, geometry and delete higher so that everything above that gets removed. There are multiple ways to subdivide, excuse me, to optimize results in ZBrush. One of them is decimate, the other is deleting the subdivision levels and so on. Okay, now preprocess on this one and then do a decimate buggy. And I had to rub ring that. There are some buttons in here, some presets that you can start to use them, e.g. on this one, if you press one of these buttons, it means that it's going to preprocess as well as decimate on one go. So now on this button, Let's say that I'm going to optimize that to 20 K only. Now it takes the optimization and the decimation, both of them in one step and we get the result. Okay? This is it. Perfectly 20,000, 20,000 polygons with optimization. Now, let's go for the next piece and we could use this one as well. Instead of going for preprocess and decimating, we could use one of these presets to do that all in one go. For a small piece like this, that is the ring that holds this strap. So I go for 35 K and it should be alright. Okay, we've got the decimation and it's alright. Now let's go for this piece in here to see if I can optimize it using the presets for this one, let's go for 75 K. So actually the optimization that a good thing. And I'm going to keep it. We went from more than 1 million to less than 100,000 polygons. Now, let's go to the next piece, which is this one. Let's zoom on it. Okay? That is it. 1 million, 0.2 polygons, which is a lot. 35 k should be enough for this. Okay, without any change, it just decimated to that number. Now let's go for these ones. And let's try to rotate. And 75 should be okay for these pieces. And a very good result. Now for these ones as well. 35 or 75 is okay. Okay. Now let's see about this one. And since this one has an, a small piece, Let's go for 75 K for this one as well. Depending on the size of the mesh and the complexity, you might want to choose some of these presets or even said your own value, e.g. you can go and try to enter a value and this would be applied and multiplied by thousand, e.g. if you enter one, it's going to be one k. If we enter ten, it's going to be ten K and then hit costume, and you're going to get what you want from that. Okay, now, let's try to move on to next pieces. Okay, This one is a bit bigger than the previous one. I'm going to go for a double. Okay, perfect. And now this one, again, we need to go for 75. Okay? Now we got this piece. Looks like this is good. I'm not gonna do anything to it. So let's leave this one B. And now we go for this strap. And since this one is a small, but it has a lot of curvature, I'm going for 150 K. Of course before that, I'm going to do a copy form this because later on we'll convert that to a low poly inside Blender. So let me take a duplicate from that. Now, do the low poly. Now, I mean high poly but decimated. The reason that I kept this one is that later on who will go back and decimate this one in Blender. But the blender algorithm is going to be a bit different. We're going to use on sub-divide to create an optimized mesh as well as a quad mesh. So we're going to explore that later on. Okay, For this one, it's okay. Now, this one as well. It looks like this one needs a bit of optimization. So for that, I'm going to bring the subdivision amount down and delete the higher one. To make this one the default, delete higher. And we're good to go. Now. We got 4 million polygons on this one. So I feel like 150 K will do. I'm going to test that. And if we did change a lot, we will go back and try to use 25 k, excuse me, 250 K. Okay, That is very good. Even after all of those optimizations. Okay? Now, this one is 70 millions of polygons, which is very much So. Let me isolate it, transcends one. This one is one of the main pieces. I'm gonna go on 250 K on this one. So let's see what that one does. It should take a bit of time because it has a lot of polygons, but it's going to be worth results after all. So now we did the subdivision, Excuse me, the decimation, and it's very good for the next one. Let's see what we have in here. We could go 450 K because it has some curvature. I'm going to keep that. Okay? This one is good as well. Now let's go for this one. And this one again, we need to go for 250 K. But before that makes sure that you save your project and maybe keep a backup in case something goes wrong, you have something to go back to. Okay, now this one, God decimated as well. Let's go for the next piece, which is this one. So I'm gonna do one thing. I'm going to keep a duplicate. So that later on we could decimate it in Blender. I'm going to make the cloths to be decimated inside Blender. So now we have some subdivision levels on this one. Let's bring it back to the default place. I'm happy with it. Now, we need to go for geometry and delete higher. This is going to be left for later on for Blender. And this one, Let's do some Polish 1st. Okay, Then let's go for 150 K. Okay? Now, let's go for this one which is going to be left for later on. Do not feel like really we need to do anything on this one. Rather than doing a simple decimate. It has maybe three millions of polygons. I'm going to test two for 250 K. And if that didn't work, we will do something else. Okay, now, it's good. It's only going to be baked. I'm not carrying that much about the geometry. So now the next piece is this one, which we can go on a lower number. Excuse me. Let's go for custom and set it to maybe 55k and hit costume. Now got it decimated. And I went ahead and decimated all of these on the same precedence. Well, set it to five so that they go for five k, just like so. And these are some repetitive tasks that I did off the camera to save a bit of recording time. Okay, now we've got this and we can go for the costume five k points in here. Okay? No changes at all. Now this one. Increase that to seven because it has more curvature to it. Then I'm going to keep a duplicate from this so that later on we can create a low poly from that inside Blender. Let's bring the subdivision down. And going here in Geometry tab and just delete higher. Okay, I'm going to keep that one. But on this one, because it has a lot of curvature, Let's go for 250 K. So Don, and with no changes. Now, this one, let me see. Let's go for again 250 K. Okay, very good. Now on this one, Let's make a duplicate. Bring the subdivision level down. In the geometry tap, just try to delete higher so that this becomes the default one. Now on this one that we subdivided that spring it and I'm going to bring the estimate 250 K. Okay, Done. Now, this one doesn't need actually any optimization. It's already good by itself. And this one as well. Now we optimize the mesh, although all of the geometry details and high poly details that we added are present in here. Let me bring them. But we went from something like 63 millions of polygons to lower than 11 millions of polygons, around ten millions of polygons. And that is a huge optimization that we did with, without actually losing any quality. And we can go and some other pieces as well that we have a lot of geometry, e.g. this one, and even try to bring them down. But I do not feel like doing that. Now the next piece that we're going to do, exporting all of these as FBX so that we can bring them inside lender and try to match them with the low poly and create some of the low palace there ourselves. So now just go, make all of them visible by shift clicking on one of them. And shift clicking again. You are able to bring all of them back and go for sport and just make a name for it. I'm going to make it FBX and just call it sculpted it save. And then in here, you want to set the exporting to all soda is export all of the sub tools. You want to triangulated and make sure that those normals are smooth. If you set a smooth normal 200, it's going to smooth all of the normals, which results in a smoother, higher-quality result exported to Blender. Hit. Okay, and now this should take a bit of time. I'm going to let it export and finish this lesson. And in the next one, we will import this one in Blender and to the rest of the things. Okay, See you there. 31. First Level of Optimization: Okay everybody, congratulations on finishing the high poly. And now welcome to the new chapter where we're going to make the low poly, unwrap the low poly and vacate. And now for unwrapping the low poly, we will actually do a lot of more care into creating the unwrapping for low poly. And we're going to make as optimized as possible, e.g. something like this one, that the backside is never going to be seen. I'm going to simply delete it. And we will optimize the mesh as well as the low poly for the optimization purposes, because this one is going to make it to a game engine. So we're going to optimize that as much as we could, as long as we do not lose any quality. Okay, now I'm going to bring the FBX that we created inside ZBrush. Just go to the folder that you have saved that. And this is it import. Okay, he got imported. And now you see it's exactly on top of the previous result that we have. Okay, just take a look. Let me hide everything and hide. And you see a very smooth and polished results we're getting in here. And I'm actually, I'm very happy with the result and all of this sculpting and all of these details later on will really shine in the normal map. Now, I'm going to make a folder for them and bring them in their own folders. This collection, I'm going to create a new collection. Let's see where now that is. Okay, now I'm going to rename this 1203. How you Polly? Now, this is the final high poly that we created. And now let's under this one, let me see. I'm going to create a new folder and call it radio. And another one, which I'm going to call headphone hyperbolic. Okay? Now I'm going to select all of these and bring them to the low poly folder, excuse me, the radio hyperbolic folder. This is it. We can just activate it on and off and then take this one. And all of these measures are going to be in the headphone category so that we can activate them both on and off using one single button. Okay, this one and this one. Now let's go and create a new folder as well. In this collection, I'm going to name it 04. Hello Polly. And this one is going to host the low poly pieces that we create. And because we didn't change the measures a lot inside ZBrush. Now the low poly creation is very simple because that is only the base measures that we have here. The only difference is that we're going to remove some of the Booleans and see what we can do to optimize the mesh. Okay, now, let's just turn off the ZBrush because we do not need it now at the high poly as well, I'm going to turn off the high poly folder and bring the base mesh that is going to contain the low poly files that we created. And this is the previous one that we created inside Blender. Ok, now I'm going to select them all. And this is, you see, if I select this one or this one, you see the modifiers are still there. This bevel is still there. And it means that these are the base meshes and we're going to take the low poly from them because they are alive. And if we wanted a Boolean, we will apply that. And if it didn't, we just remove it. Just Shift D. Okay, and now I'm going to create or hit em, bring them to the low poly collection. Now simply just hide the base mesh. Okay, now we're left with the low poly. Let's create a folder in here. I'm going to name it radio LP, representing the radio locally. And one more. And this one is going to be the headphones LP, representing the headphones low poly. So let's take the radio pieces. Collection low poly, and it's going to be radio. Okay. Now these are going to be moved to the headphone, like so. And now we can turn them on and off using this one. Now we've got the high poly pieces as well as the future low poly pieces that we're going to make right now. And you see they're overlapping perfectly and the bank is going to be flawless inside Substance Painter. Okay, now, let me just deactivate a little party for now. Okay. Now there's one more thing that I'm going to keep these ones as the low poly and we will decimate them later. One inside Blender, because these are Quad meshes and I want the quad much for the unwrapping process. And one thing that we did was that we bring the high poly. And here you see that we have double cushions for every side. You see something like this. We kept two versions. One is the high poly and one is the low poly. Okay? It looks like in here, there are both the same thing. And both of them having close to a half million polygons. So I'm going to remove that and keep this one because this is the decimated mesh. Now one cushion in here as well. Let's see. This is the default version. So let's go back. And this is the estimated version based on the topology. I can say that this one is decimated and has more quality. Okay, now we've got two more head bands in here. Let's see which one is the high poly. So this is definitely the low poly and this is the high poly. Okay? Now one more thing is that a strap in here? Let's see about it. Definitely this is the high poly and this is the locally. So I'm going to keep this one because this has all of the curvature that has. I'm going to remove this one to save some performance as well. So now it's already set up and we can go try to hide this. Let's start the low poly creation process. And it includes first applying the Booleans that we need. And we're moving the Booleans that we do not want. E.g. these Booleans that are going to be baked on a normal map, I'm going to remove them. So now you see we have close to millions of polygons. And let's see where we get when we make the low poly actually. So now let's start by this one. I'm going to isolate it. Let's see what we have in here. Again, I'm going to toggle stack all of them. Just try to remove. And then I'm activating one-by-one to see which one of them I'm going to keep. This has definitely want, I'm going to keep and this one as well because there's change the silhouette. And this is important because later on, if we wanted to ever connect these two pieces together, this will help a lot because the curvature is the same and the same amount of polygons are there. Oh, this is going to help a lot. After that we had some Bevel weld excuse me. Let me see what that one does. If it changes anything in this border areas. No. Nothing. So I'm going to keep this one as well as this one. This one is the bubble. And I'm not going to keep it because the bubble is in the low poly, in the high poly, excuse me. Where the normals. The next bubble is this one that I'm definitely going to remove because that is going to be baked on a normal map. And you see this way we're able to remove a lot of the Booleans because they could be baked on normal map. But something like this that changes the silhouette dramatically. I'm going to definitely keep it. Let's see about this one. And this one I'm going to keep it as well because baking that inside normal map wouldn't give us a good result. So let's apply this one. The next one is way to normal. Let's apply it. And as a screen as well, I can keep it. Of course we could go and try to bake this one based on normal map. But I'm gonna keep it the way that it is. Okay? And let's see where that normal. Let's keep it. Then we got a plane. Let's see where that plane is going to affect. This one that I'm going to bake on a normal map. I'm not going to keep it the way that normal. Another plane. Let's see where that is. Okay, that is this one that we're going to bake on normal map. Let's see about this one. Okay, this is this handle piece that I'm going to definitely keep. And now let's go in here. I'm going to take this Boolean again and just try to take these segments in here. And all the way. Let's hit F3 to bring the shading back. I'm going to take all of the vertices, excuse me, all of the edge loops and try to remove them like so. That will help with the optimization as well. Remove. Now we can go back and see, Let's bring everything back. It looks like this one is doing some cuts on that part as well. So now let me select all of them which are actually selected. Now go back and just take this one here, three. And I'm going to keep it. Okay. Now let's go to this one. The radio piece. I'm going to keep this. Now a cylinder. Let's see where that one cuts. Let's go in. This is it, I'm going to bake it in a normal map. Then this one, again, I'm going to bake on normal map. This one, I'm going to keep it. Of course I'm going to, I'm going to keep this corner piece and this piece in here because it's going to be hidden under these buttons, I'm going to remove it. So let's take the Boolean piece. Like so. I'm gonna go in edit mode, select this one. In order to be able to select this one, we need to apply the modifier is to convert that to real geometry. So let's remove the bevel, the array, and this one array as well. Let's select this one, Alton G to select everything and now go back. So now you see we get only this one that is doing some dramatic changes. So now let's see. Okay, this is it. Apply. And let's see, let me isolate this. These ones, I'm definitely going to bake. And let's see. This one as well. We're gonna bake it. Okay, this one. I'm just going to remove. This one. Does some corner cut because that is going to do some dramatic changes. I'm going to leave it. Okay, Let's see what about this? And it does this cut in here, which I'm going to keep. The next one is, I believe this is the latest one in here. Okay, now let's remove it and away the normal modifier to solve any shading issue. Okay, now just select this and try to clear any costume normal. Tried to make it a smooth based on 30 degrees. Okay, now this is the base of the low poly that we're going to create for the front side of the radio. And we're going to optimize it even more. E.g. in this area who do not need that much segments. But for now, we're only going for some general, general optimization. And after that, we will come back and try to optimize that even more. So let me take this one because I'm happy with it. I'm going to hit H to hide it. Now, let's take this one toggled stack. Let's see what goes in here. So this is what I'm going to definitely keep. And this is for the handle. Let's keep it. That bubble. I do not need it. Let's remove it. And this one, because it changes the geometry. I'm going to keep it. Okay, let's see what that one changes. So this one, I'm going to remove it. Then. This one definitely I'm going to bake it in a normal map, so we do not need it. This one as well. It's going to be baked. Let's remove it. And this is a simple geometry only relying on a normal map detail, details later on. This one as well. I'm going to bake. This one changes the geometry, so let's keep it. And this one, I'm going to remove away the normal. Let's keep it. This one as well. Remove one final in here, which I'm going to remove. Now, this is the base low poly for the middle piece. It's very, very simple geometry. Even less than 500 polygons. Half of that value, maybe. Okay, Now let's clear costume normals, right-click Shade Smooth based on 30 degrees. Okay? Now I'm going to take this and hide it and start to work on this one. Toggles stack, just like always. Turn them off to see which one of them is going to work. Okay? Now, this one, I'm going to keep it. This one. I'm going to keep it definitely. I do not want any bevel. This one changes the geometry. This one as well. And this one is the panel cut that we're going to rely only on the normal map to bake. So I'm not going to keep it. This one as well. Normal map, this one, normal map. This one as well. Normal map. This one. Again, normal map. This one. I'm going to keep it because it changes the geometry dramatically. This one as well, normal map and the way that normal to solve the shading issues. Okay, Let's now clear the normals. Make it a smooth. Right-click Shade Smooth based on 30 degrees. Okay? Now let's hide this one as well. And now we're left with these ones that I'm going to bake this one. Let's bring it and remove it. This strap is good by itself, will do some changes to that later on. But for now, let's hide it. Okay. This one as well. I'm going to hide it. This one. And this one looks like we're going to do some changes to them. So toggles stack, let's see what we have in here. The first Boolean, like a dramatic change. Let's keep it. This one as well. Let's keep it a bevel. I do not. Normally for the low poly pieces, we do not need any bevel. This one, Let's hide it. And this one as well. I'm going to hide it and I'm not deleting them. So I'm taking this one and the liter. Now this one, Let's see toggles tag. Let's see what we have here. Okay? This pebble is the one that I'm going to keep because it really changes the geometry so much. And after that, we have this one which I'm not going to keep. And then this one which I'm going to keep that hit H to hide this one. And there's buttons. I'm really not that chart if I want to make these geometry or baked on normal map. So for now, let's remove the bevel on them and take all of them. And it H, to hide them. So this one just deleted. These ones are going to be baked in normal map. This one as well. I'm going to bake on normal map these buttons, I'm going to keep them. So let's take this, the bubble. Of course the bubble changes the geometry so I'm going to keep it. And then the array, which I'm going to keep as well. So hit H on this one and this one as well. Let's see the bevel. Not that important, so let's remove it. And the array, I'm going to keep it, hit H to hide it. And now this one, we do not need the bevel on it, it H to hide it. And then this will, well, Let's remove the bevel. Okay? And then this one, I'm going to keep it. So H to hide it. One is going to be baked on a normal map. This one as well. And now this one as well. This is the final piece that we're going to make the low poly from the bubble. Let's remove it. And this one, I'm going to keep this one. And now all of these Booleans are not useful for now. So I'm going to take them and remove them. So now let's bring the radial, take them all and hit Alt and H to bring them back. And this is the base for the low poly that we're going to create. Of course, there are some room for improvement, which we're going to do later on. So for now, let me see how many, how many polygons we have in this case. So 21,000 polygons, which is too much. So we're gonna do some more, more optimizations, e.g. this one really needs to get optimized and this get half of that polygons. So we're going to do a lot of optimization on these. So let me see what we got here. Let's start by this one. So there's only a mirror. Let's apply it. So now let's work on this one. Actually, this one is the same as the one that is in here. This is the non-destructive piece that we have. We can go and try to see what we can do with it. So for now, let's take it, I'm going to take this one, remove and start to work on this one instead to see which one of them we're going to keep and which one of them is going to be removed. So this one definitely we're going to remove it. This one, we're going to keep this one as well. I'm going to keep then this one. I'm thinking about removing that. Then that way the normal is good. So now let's do the mirror to bring that in this side. Okay? Now, set the mirror object as this one. That's it. Perfect, perfectly. Brings that here. Apply. And then I'm going to hit H to hide there. Then this one doesn't need a lot of modification. So take these to hide them. And this one, I do not need the bevel. Let's hide it. And this one as well. I'm going to hide it later on. We'll do something about it, but for now, it's good. So now this one as well, and this one, and we're left with these earphones. So this one, definitely, we do not need it, so let's remove it. Now let's start to work on this one first. Toggle stack. Excuse me, I did the wrong apply. So control Z to bring them all. And now let's start to see which one of them we're going to keep and which one of them not. You can go and try to add some segments in here to make that rounder. But since this is the hyperlink, I'm not going to make that so much of a higher polygon. I'm going to keep it as low poly as possible. Okay, This one, we're going to keep it. But let's go. You see we have the bevel in here. How do not want that bevel? So in here, that one, the wives, the bevel. So now it's good. Let's see. This one. I'm going to take this one is going to be baked as well. Let's see about this one. This changes the geometry. Geometry dramatically. I'm going to keep it, this one as well. I'm going to remove because we're going to bake that later on. This one, Let's see. This is the cut. And I'm going to remove that one. And weighted normal Apply. And I'm going to hide it. And these ones as well, I'm going to take and remove them. Then this one, Let's take this Boolean p is in here, remove the bevel. Then let's try to work on this toggle stack. We have a lot of you modifiers in here. So this one, I'm going to keep it. And the next one, because it changes the geometry so much, I'm going to keep it. But let's go take the geometry that is doing the Boolean in here and it has a bubble. Let's just take the bubble and try to remove it. Okay? Then this one as well. Let's remove the bubble, Okay, perfect. And now apply. This one is a cut, so I'm going to remove it. So now let's see about this one. This has a lot of changes in here. Let's see what it does. It adds this cut in here. So I'm going to keep it because again, the change is too much. So let's go back. Before applying that. I'm going to bring everything in here and take this Boolean piece and remove the bubble. Okay, like so, and then another bubble which you could remove. Let's take this. And we can try to bake this. So let me take it. Let's see how much effect, okay, this is the bubble. It's good. So now let's go and try to apply this. Now the next one is a cut. I'm going to remove it. This one, Let's see. It's a cylindrical piece. Of course, that's this piece in here. So we remove that one. This one I'm going to keep because it changes the geometry. And this one remove. This one, remove as well. It would be baked on a normal map. And this one is deriving this pebble in here, which I'm going to keep it Boolean, excuse me. And this one as well. We're going to bake. This one, is working on this Boolean and remove this one as well. I don't need Let's see. I don't need remove remove these ones. Removed as well. Let's see about this last one which is a cut where it normal, okay. And then this one, we do not need it. So let's go back and try to hide this one as well. And then we got this one which is going to be baked only. Then. I don't need level on these details in here. Okay. Just take them, remove them, excuse me. Hit H to hide them. This one, I do not need it for the low poly, this one for now. I'm going to keep it. But later on, if we want it, we can remove it and rely only on a normal map bake. Then height is there are some buttons in here which we can go and remove. Okay, Now let's see. Every Boolean piece in here is done. Let's remove them. Now. I can go in here and try to bring all of them. Now, We got four more pieces that are all cloth simulation. And we want to go and do the low poly because these are already too high poly. And I want to make these quad so that every time we try to bake, we get a quad version. And this becomes better for the unwrapping as well. So let me demo in here. I'm going to Shift D. And then let's go work on the UV. And let's say that we can go and try to optimize this using a regular way. You see how this is it. If that is all quads, I can take it. Let's unwrap. We get something like this. But because that is all quad, we can go use the UV as squares and try to use this option in here. It doesn't work with UV sinks, so we need to activate tab mode. So now you see we get something like this, which is much, much optimized for UV creation. If you go and try to unwrap and try to match all of these in the same curvature, this one, because it doesn't have any curvature, it will place all of them a lot better. So that is why I tell you to keep these ones quad so that you can do this, kind of unwrap to them. But let's say that we go back and try to do optimization on this and make it triangulated. So let's Control Z couple of times to go back to the default stage. This one. Now, let's take it and I'm going to add decimate. So now let's say that we decimated 2.5. Okay, like so. And let's go for 0.1. Okay? This is a desirable result. But if I take this now and try to on rapid, you see now we get this result. But if I go and try to coat on, It's not going to work. And even if I go use these methods, you see it's not going to give us a good result. So that is why I encourage you to keep these ones quad so that you can keep them straight and make it easier on yourself to bake details to them. So now let me see. I'm going to go and start the simplification results on these ones. For now, I'm going to Shift D to duplicate and start to work on this. And if you didn't like it, we can go and try to change it. Now, if you go and try to use the unsub divide, this should give us some problems because the center, if you take a look, the result is so much of a bad result is saying here we have a lot of n guns and sub-divide shouldn't work that way. So in order to see what is going on, I'm going to add a decimate, and let's go on subdividing this collapse just works like the decimation inside ZBrush. You give it a ratio, e.g. 0.1, and it should give you something like this. But I do not want that. Let's go for on subdivided and try to subdivide sometimes. And you see it tries to follow the curvature while removing those shapes. And this is basically the reverse of the subdivision surface. It tried to add the geometry of this one. Tries to remove the geometry using that one. Okay, Looks like we're good. We're not actually getting any problem. That is odd. We shouldn't. Looks like this one works. Okay. I'm going to keep it. Now let's compare that to the high poly piece, which is this one. This should be fine. And later on in the bake, all of those details will be captured. Okay, I'm actually happy with this one. I'm going to keep it. So now let's take this one, Bring it in a new collection and call it other. And let's hide this other collection. I'm going to keep it. Maybe later on we do some changes. We're going to keep it. Then in here we got some ugly and guns. And here you see. So for now, I'm going to keep it later on if you had a problem using unwrapping, I will do that. So now let's shift D on this. Try to isolate and try to add the decimate used on subdivide. And we should already go for eight. And a very good optimization. Let's apply. And then this one, I'm going to send it to the other folder. Okay. Now we've got this. Let's go for this one. And I feel like we should have some guns. I don't know why, but there should be some n gowns in here. So I'm going to Shift D on this one and then try to add the decimate sub-divide. Try to add a subdivision or reversed subdivision, one and once more. Now this should cover all of the details that we have here. And I'm going to take this one, move it to other folder as well. So that later on if we want it, we can try to use it. Now this was the first level of optimization that we did. Hundreds pieces. There's actually much more that we can go try to do. E.g. we can go on this one. We can add more, a lot of more subdivision, Excuse me, optimization that we're going to do in the next one. Okay? Now we have 32,000 polygons for these low poly pieces, 32 triangles. And then the next one we will go and try to improve the pieces. Okay, See you there. 32. Optimizing Radio Pieces: Okay, everybody now created the basic low poly, and of course we're gonna go and do some manual cleanup as well. E.g. this cushion, this earphone in here has too many horizontal edge loops, but few vertical ones. They are not so well distributed. But we can go and try to improve that. If I just bring the bipolar and try to compare it against the high poly, we will see that these are the two. We need to select a low poly and the high poly. And we need to add some vertical edge loops and remove some of the horizontal ones to add a balance. Of course, because we started everything with this radio for a low poly as well. I'm going to go for the radio as well. Let's start with this one, which is probably the easiest one because this is the lender default mesh that we created. It doesn't originate from ZBrush or anything. Of course, we made a hyperlink in ZBrush, but this is the one that we created using the simulation. So because that is a blender default mesh, the unsub divide is going to be way to go. So we're gonna go for decimate and sub-divide. Let's try to bring that down. And we can go further even more to something like this. Now you see, instead of getting 30,000 polygons, which was before decimating, now we're getting less than 1,000 polygons. You say it was probably for 40, 1,400, excuse me, 40,000 polygons. Now, it's less than thousands. So now let's apply that and a bit of shade smooth with auto smooth. No, let's not do the auto smooth. Let me see if I can do a clean on rap on this. If we were able to do a clean unwrap, we will keep this. But if we were not, we will those add some more edge loops and loop cuts and those kinds of things. Okay, Now let's mark seam, take everything. We need to create a UV map for it. Okay, now, unwrap. Now I'm going to take one of these, e.g. this one in here and mark scheme. And now let's select everything on rap. Okay, perfect. Now I'm going to go for the US square and try to match it like so. And now we get a perfect straight UV that is going to be good for production. Okay, Now this was only for test to see if anything is working. All right. Later on, we will return back and try to fix this. For now I'm only caring about the further low poly creation. Okay, Now we got from 32, 32,000 to less than 20,000. And that is a huge improvement, just by the way. Now let's go and start to work on these pieces. Okay, now let's start to work. And because this is a Boolean piece, the first thing that we need to do is going into vertex mode, excuse me, select all of them and hit em so that they can merge the vertices by distance. And you see it already removed two vertices. And there are vertices that are so close to each other that they get welded. Okay, Now the next thing I'm going to delete this one. I'm doing the most obvious changes in here to see what happens. And then we have a phase in here that's a big N gun. And we can go and try to collapse this because you see it doesn't contribute to the silhouette. It adds, but it's not even a limit will change. I'm gonna go select it and I'm no, excuse me, hit em and collapse. It collapsed that. And now we're getting almost to a point that it becomes optimized a lot more. So there's one thing for this curvature piece in here. We can go and try to take these edges one by one and remove them. But since this spherical faces Exactly need a bit of curvature, I'm not going to delete that. Since that way it will look too low poly. Let's just try to randomly select these edges and try to remove them. And try to take a look at it. And you will see that now this is something very low poly. And especially on these spherical phases, we want to have some curvature to support that shape. Okay, now, there are a lot of vertices in here. And since this is a Boolean piece, before applying the Boolean, we could have gone and tried to reduce the segments on the main cylinder, not this shape, but since we have applied the Booleans and that cylinder is not available now, we can go and try to optimize it in here. So now, in order to explain it a bit more, because we have the base mesh in here. I'm just going to hide this low poly and bring the base mesh. Now let's try to take a look at these. First turn off the pre ZBrush. And now we're talking about this one, okay? And you see we have this mesh in here, and these are the cuts that we're doing on that mesh. One optimal way would be to go in here and try to remove the vertices in here, e.g. let's take the edges in here and try to do a Checker Deselect because we have selected these, I'm going to select one-by-one or every other edge. We go in here, Checker Deselect because I'm going to use that a lot. I'm going to add it to quick favorite menu. And then in here, select edge loop and select Edge rings as well. I'm going to keep them so that when I press Q, I'm able to see them. So now let's do Checker Deselect course for that one we need to select first and then check your De-select. And you see in here, it tries to change every other edge or every other two edge based on the points that we add in here. So now if we delete this, it's going to be affecting the Boolean piece as well. One optimal way would be to do that. But since we have applied the Booleans and doing such a thing will require a bit of more cleanup. We decided that we want to first apply the Booleans and then do the cleanup on the low poly. That way it would be easier and no need to further cleanup because the mesh is baked already and we do not have any problem. So now one more thing is that some edges are support groups, e.g. this is in here, this is holding this structure. Let's try to bring that in orthographic view ports. And if I take this one and delete it, you see now this changes dramatically. But some more edges are not. E.g. if I take this one in here and remove it, although it's trying to change the curvature. But that is not going to be as strong as this one. So you see that one was a huge change. So some edges are support groups and some edges are just there to make the curvature possible. And we do not want to remove the support loops, e.g. in here, this one might be the support group because if we were moving to, say it changes a lot. So now because we have a lot of vertices, I'm gonna go try to do select. If I select this one and hold down Control and Alt, It's going to select an edge ring and it's going all across. But since it has selected these outer edges that we do not want to select, select manually. So now let's go in here and try to manually shift select all the way to the top. Now we're gonna go for Checker Deselect. And now we see because we have this select on one and this hasn't selected the support loops. The first one and the last one. We do not want to delete them. And if it's selected, you can use the offset to do something like this. And now you see the first one and the last one on our selected. But this is not the way that we wanted. Now that we have selected this, just hit X to remove them. Okay, now let's go for the next curvature and just try to shift select your way through the end of the geometry. Okay, just some manual changes. And now let's go check our de-select. And you see now the first and the last edges that are support groups are getting selected. And this middle edge in here, as well as getting selected if I were movie to see, it changes dramatically and it destroys the geometry. So let's go check our de-select. And I want to use an offset. Looks like we have down the wrong selection. So let's go and try to manually shift select all the way through and make sure that you do not accidentally select any loop that you do not need. Now, Checker Deselect. Now it's the right value. Now you see the middle edge in here, that is the symmetrical line. Basically. The first and the last edges are there. And it's good. So now it was a good result. And now let's try two. Go all the way to top for this one. Because we have one more piece that looks like this one. We will go and try to duplicate this to that piece. Instead of going again, try to manually do all of the changes. So now de-select and it's doing a good job. Okay. Then one more. Try to shift select your way through. Okay, then Checker Deselect. Perfect, it's okay. Now, this is as optimized as we can go about this mesh. Now we have one more instance in here. We're not going to go and do the same thing on this one. And let's see. We have still the rotation value in here. We have an applied that because these two are basically the same thing, I'm going to go Shift D in here and drag it so that I can replace it with this one and align the rotation and all kinds of things to that. So one manual way would be to select the mesh. And the order of selection is important, important as well. The mesh that you want to change should be selected first. And the image that you want to borrow the transformation value from should be selected. This one, and try to remove it. And another way, the automatic way would be to use the aligned feature that we activated in demo. Let me control Z to bring that back. So this is the mesh that we are going to align. And this is the mesh that we're going to take the value from. The good thing is that we haven't applied the rotation. If you go and apply the rotation, I believe it no longer should work. So let's try to test that and take this one alt and a. It brings that, but the rotation is not there because the rotation is already set to 000 and that doesn't know how to rotate that. But since we have the rotation, it's going to be a good idea to keep it if we wanted to such maneuver. So let's take this one and this one and Alt and a, and make sure that the location and rotation have been selected. Now, this one could simply get removed. And this one has been changed with all of the transformation and location values. And later on that we unwrap this. We will copy the unwrapped from this one to here because they are basically the same mesh and we wouldn't have any problem copying that. And another way to bring this in here would be to duplicate. Let me bring that here. And that is the manual way. And for that one, we need to have the rotational values on this not applied, which is the case in here. We do not have the rotation applied. If we go Control Alt, Control a and apply the rotation, you see it no longer works. So now we can take this and take the mesh that is in here and we want to apply the rotations on the order of selection is importantly first you want to select the image that you want to copy, the transformation value2 and then the one that you want to borrow the transformation values from. Then right-click, Copy All to select it. And then the rotation copy All to select it. Okay, Now see it does the same thing, but now it's manual. Now, let's try to take this one, remove it. We're good to go using that. Now let's go for this one. Why the way I'm going to delete this again, because this is an important piece. I'm not going to remove anything from it. Let's see. I selected this one edge ring and now Checker Deselect. Now. First, let's select one edge and then select an edge ring. Okay? Now Checker Deselect to de-select one of them and now go for edge loop like so. We're able to select every other edge in here. If I remove it as if this gets too low poly. So because this is a cylindrical piece, I'm going to keep it. But now in here who need to go and collapse it. Okay, now, let's do an insert first and then collapse. Now this should work out right? Now that I'm taking a look, I see that that wastes that we wanted is buried under the geometry. You see this face is not getting shown. So let's bring the high poly. I'm going to move them a bit together so that later on you will have something to apply, the texture too. So let's take them and it's going to be in y. Let's bring both of them out. Like so. Now let's remove the high poly. Again. I'm going to drag that out until this gets revealed. Now I had that high-quality selected. So we need to go back and try to re selected. So now let's do some more changes. Like so. This is good. Now let's remove the hyperlink and now we're getting, I just wanted to be shown a quick change and fix. So now let's go start by these ones. And first, I'm gonna go select these edges because they're not getting shown and we do not want them. And there's something in here as well. They're not getting shown as well. So just let's take a look at it. And he said the mesh is so far into the geometry. And we're good to go. Of course we can go and try to remove these ones, but I'm going to keep them. Let's go for this one and for this one as well. I'm going to take these ones removed. Then let's do an insert and then collapse to collapse these. Then let's go see what we can do. Select every edge from every of these measures. Select Edge Ring, Checker Deselect. It's not selecting. It looks like we can go and try to remove manually. Now that I'm comparing, I see that these cylindrical details just let's leave them in place. They deserve a bit of good curvature. So now everything that we do, I'm going to go and try to hide them so that we know which pieces are left. So now lets remove this one, not remove, excuse me, just try to hide them. So what about this one? I'm going to take this face to an insert and then collapse. Then just take an edge in here and then select the edge rings. And then check your De-select and then make them as loops. So let's remove. It's a good idea. Let's take this one, remove it as well, and we're done with this piece. Now, let's try to work on these. First, these top and bottom faces are getting deleted. And then let's take this to an insert and then collapse. And of course we can go and try to remove every other edge, take one edge, hold down Control and Alt, take one edge, and then go for Checker Deselect. Make sure that you deselect every other edge, just like so. And then select Edge, Loop and remove. And let's try to take a look at them and compare them with the big picture. Alton H to bring everything back. Just tried to take a look at these. So it looks like we can go and try to optimize these even more. So take an edge, make sure that you convert that to Edge Ring, Checker Deselect and then select a loop and remove. De-select, make it a loop and remove. Okay. Now let's go back and try to hide this. Now the next piece that we're going to work on is this one. Let's take it. Just again, select an edge, make it edge ring. And then check your De-select to select every other edge loop. Make it loop. Then we'll move. Okay, how far that we can go and then try to remove it. So now we're left with this one, which is a Boolean piece, and then we need to do some manual changes. So select all of them. Then merged by distance. It already merged a lot of them, so this one could get removed. Now we need to go in here, just try to control alt using the edge mode control Alt, select everything. Okay? Because there are some n guns in here, it's not going to select well, so we're gonna go and select manually. Just try to shift select your way. Through here. There's some bit of clean up that we need to do. Now, Checker Deselect and just remove them. But didn't get a lot of problems because that was too high poly in the first place, and we have no problem with it removing that much of polygons. And now we need to go and try to connect these edges, e.g. this point that we have in here is it connects to nowhere. We need to go and try to take this and try to weld them together like so. And you can try to select the merge and merge them together. Like so. Something like this that doesn't using anything, we can go and delete it later on. So for now, I'm going to try to select the edge ones and make sure that you connect them to each other, but make sure that you do not change the curvature that much. And now this one and this one. Let's see. Okay. And if I change this one, you see it changes the curvature a lot. So let's do that. Because this one is going to be buried under that strap and the ring as well. Let me bring everything back. You see, not a lot of these details are going to be shown. So now let's go and try to weld even more vertices. So I'll take this one and remove it. Now, let's keep it. Okay, then. Just try to find a middle ground in-between them. You can hit M and merge to center, to bring them both to center. Okay. Then it's enough. And there are some more in here which we can go and try to symmetry this to this side because this mesh is identical in both sides. But now I'm gonna go and try to remove some more edges from here. So every other edge just take and remove. Okay. Just the same thing is going to be done in here as well. Just take these and remove them with no problem. Let's see about this one. This could be deleted as well. Now let's join. These are see what it does. If I tried to join this one, it changes the curvature so much. So there's a middle ground that we need to go and then take them merge by distancing well that one vertices. So now I'm gonna go take this edge and remove it. Now let's keep it. And then, no, not this one changes a lot and these two are so close that we can go and try to weld them with no problem. Okay, Now, I'm happy with this side. Let's go try to do the symmetry. Just try to bring the mirror to that side and gone. Because the pivot was in center, it would be no problem. It's it's okay. But there's something in the center that we can take and delete the center line as well. Let me see. No. It's okay. But let's go in here for one last time. And sometimes that you apply the symmetry, some faces get created in the center. So it looks like in this case, it didn't. So let's hide this one as well. Now, we're left with these three major pieces. And this one, this is going to be a very fast optimization. Just select, select everything, Checker Deselect removed and it's gone. Okay, I did. And now in the next one we're gonna go and try to work on this. Maybe we merge this because all of the vertices are snapping together. We can go and try to hide the in-between faces and try to merge them. Or maybe we separate them as three objects based on the direction that we're going to go into the next one. Okay. See you there. 33. Connecting The Radio: Now, with all of the radio pieces out of the way, we are able to go on and try to move to work on this. And there are a couple of directions that we can go. One is separating these into their different pieces and one is attaching them together. And that requires a bit of thinking. E.g. if you go and try to expand the cage too much when baking the details inside substance e.g. the details from this wall may be projected that as well. If this mesh is one thing, that way it would be two would be better to separate them and tried to texture them separately, and then later on attached them. But if you want to keep them as one piece, it will be more optimized. And you can go try to do further optimization and try to make it even more polished. So for now, let's go and try to remove the phases that are not getting rendered at all. The space in here, we could totally remove that. Now let's see. There's nothing in between except for these faces. And in such a scenario, you can go to face orientation and see which faces are. When you're taking a look at here which phases are blue to remove them if you want. Okay, now, let's go for this one. And then the space should be deleted. And then we've got this small phase in here and nothing more. And there's this one in between as well. But there's some consideration about this one which is some of this mesh in this area is getting rendered. You see, we should have this much in here based. So we need to go and try to create some vertices for while having this one selected, I'm gonna go in the Edit mode. Let's bring a knife tool. I'm going to do a cut like so, and follow the same curvature. Later on, I will snap them to those vertices. Okay, Let's see. Now hit Enter. Let's go see now this one is in here. So now let's go and try to match the vertices. We need to activate the snap mode and make sure that it's set to vertex and active mode. So now, select this one and bring it to top. To snap to that vertex. There should be another vertices here. Let's find them. And snap that to this vertex as well. This one in here. So now we can go and try to take this face and remove it. Let's go see if we have any phases that need to be removed. Now, in here, it's very important to remove all of these in-between phases, except for this one which is going to be actually rendered. Everything is alright. And now we can go and try to even out these together. Let's go back, bring everything. And if I go try to select these, go in edit mode, select all of them and hit Merge by distance. There's one problem in here, I just control Z to go back. So let's see what that is. Let's select this mesh. Let's go inside and it looks like this phase in here needs to be removed. It's in-between the meshes and it's not getting welded. So remove. Now let's go back and take these two and they should work together perfectly. Let's take them merged by distance. They're not getting welded. So looks like if I take this one and remove it, now, everything in the in-between edges aren't matching. Let's go and merge. And now let's take a look. And these are different vertices. But when I try to merge, they're not getting worse. So the problem was that these are not joined together first in order to well, you need to join them first. So I didn't join them. I just selected all of them and entered the edit mode. So now Control and J, now they are polar part of the same tool or part of the same mesh. Now select everything merge by distance. And now you see a lot of vertices got merged and select one. Now you see everything in here is part of the same mesh. And now this is basically one mesh that we can go and try to optimize. So it looks like there are some edges in here caused by the Boolean process. This is one way. Another way is to separate them and texture them individually and later on attached them. Okay, in here, it looks like there are a lot of vertices that we can go and try to remove. So let's take these ones, because this one is a flat piece. And we can go and try to remove everything without any problem, without actually hurting the curvature. Okay? And then let's try to take all of these. Perfect. So just leave that round PSP and then try to select these ones instead, these flat ones. Until here, Let's see. Perfect. And I just want to leave this first one that holds the structure and remove these other ones. Until here. The same thing goes for this one as well. Okay, like so. And then the final piece. And I'm leaving these round shapes to be in their own places. And let's see what else we have for optimization. There's one edge that goes all across that selected. Let's select it all the way through. But first let's select all of the edges clear, sharp, so that we're able to see what edge selection we're selecting. Okay? This is it. If I remove it, It's going to damage the curvature a bit. And it's not optimizing that much. So let's leave, this won't be, but for something like this, if I take it, it goes all the way across and it's not actually holding anything. If I remove it, there's actually a huge optimization done. I'm going to remove that. But this one, since it's going to hold out something, I'm going to keep it. So now let's go for this piece in here. I'm holding down Alt. Let's remove that. Okay, this one is one of those holding structures. Let's try to take this and a good optimization in here on this side. Let's see if we can go. No, this isn't good. But we can go and try to remove some of these round ones as well. And just see it's doing a good job. And select this one and this one. Make it find a way to connect through the Boolean piece to the mesh. Let's go for here as well. Not this one. And remove. I'm controlling to see how much of a change that one does. So now, again in here, select one edge and then select Edge Ring, Checker Deselect, and then make it edge loop to go all the way. Let's Control Z. It looks like it has wrongly selected one edge in here. Just try to de-select that and try to remove. And while these together so that it finds a connection, connection point to the mesh. So now let's see. We're getting really low poly on this one. I feel like it's as far as we can go about optimizing it. Of course we can go and try to remove these ones as well. But this one, since the curvature is going to be changed so much. And this is the LED screen. One of the main focus point of this piece. I'm going to keep it. But on this one, Let's see, because we have a lot of vertices and they are so close. No problem, we can remove them. Let's go on these ones. Now let's keep this one. And this one we could remove it. I'm inspecting around to see if there's anything else that can get optimized. For the low poly purpose. It looks like these two vertices have not been welded properly. So let's take this one and this one as the active point and connect them. This one got welded perfectly. There's one in here. Let's see. It got welded. One more in here. That MongoDB, well, that as well. But abroad these in here because I wanted to keep them. Okay, Now this mesh is done. And we can go try to move on the next piece and make sure that when you are optimizing, try not to remove some of these edges that are connecting to these pieces, e.g. if I go and try to remove this, you see, now I have selected that. You see it by accident. Select this edge all the way through, and if you delete it, It's going to cause some issues. So make sure that when you are selecting these edges, try not to remove them. These are the edges caused by the Boolean and they are holding the structure. Connecting this Boolean piece to the host piece. You want to make sure that one doesn't happen. Okay, Now, I'm happy with the amount of subdivision that we removed that looks like this one is back in here, so no problem. We can go edge rank, Checker, Deselect and select tubes. And now it's in here. It has by mistake, selected this one. If I remove it, It's going to cause some issues. So just go and try to de-select those and do not let them to be removed. And you can try to hit a free to save anything by accident is not getting removed or anything, and it's ok. So now the next one who will go and try to make some simplification on these ones. And after making sure that the simplification is done in the next one, we will go and try to unwrap them, then baking and then the text string. Okay, see you there. 34. Low Poly Headphones: Okay, everybody, now we made a low palate from this and actually, I'm happy with the result. And now it's time to go, to move on for this one. And that first piece that we're going to start with, our days Cushing's. So because we have optimized these a lot, some of the profile is gone. And if I bring the polly, we see that there's some mismatch between the surface of the low poly and high poly. And in order to make that easier on ourselves, we're going to go and try to manually re-scale days to make that better. So we want to make sure that they are as close as possible. E.g. you see there's a good amount of distance in here. We're gonna go and try to move that in x, excuse me, and all of the vectors. And then try to match it a bit more with high party. Like so, so that later on we do not need to extend the cage that much. So in here, there's a lot of distance. So let's try to re-scale. Or instead of we scale, we can drag that out to match with the curvature a bit more. So now let's go in here. I'm going to take the high poly and try to make it wireframe see-through so that we can see things better. So now let's take this one and try to make the curvature a bit better. Let's something like this. And this one as well. Here. You see that there's a lot of distance in between these two. So let's try to do something like this and it's okay. I'm happy with it. Let's go and I'm gonna go back. And let's do some more changes on this one. Because you see in here, there's a lot of mismatch in-between the high poly and the low poly. Just a bit of scale in here. A bit of scale in here as well. Take this and try to match it with the curvature of the high poly. And risky in this one a bit. This one as well. Now, I'm happy with it. Let's remove or hide the high poly for now. And I'm gonna go and try to optimize this even more. So in here we have ugly polygon that we need to take and remove again. Now, let's take this face as well and remove. Now let's go do the same thing for the other piece as well, because that was having a lot of n guns and later on for unwrapping that will cause some issues when we are trying to straighten the polygons. Okay? Now, I'm going to select one of these. And then let's go for Edge Ring, Checker Deselect like so, and then make that edge loop. Now we optimize that to half of the polygons with no visual impact on the curvature of the geometry. And I'm going to go do the same thing on this one as well. Let's Control Alt on one of these edges. Checker Deselect to de-select one of them, and then make that an edge loop. Okay, Now I'm happy with the first layer. Let's bring the high poly. They're reading sell well. And they're gonna be okay. So let's bring that then I'm going to take these to unhide them. So now let's see what this headband does. Let me take it with the high poly and see what we can do about it. So let's bring this back. One more. Okay? Now, this is matching the curvature a bit better. Let's apply it on sub-divide. And now I'm gonna go in and try to manually remove some of the edge loops, or let's not do that. Let's Control Z couple of times and try to optimize it. This way. It's a lot better. Okay, Now, let's go out. Either high poly as well as the low poly. Now this one is low poly by itself. It has less than 150 polygons, so I'm going to hide it. That is low poly by itself. And these ones as well. This one is low poly. But one thing that we can do is taking these edge loops, Checker Deselect, make an edge loop, and then remove that. This way, the world becomes a bit more. Optimized, Checker Deselect and make it edge loop and remove. And then these two, I'm going to take an aldehyde. Now we've got this one. Let's see what we can do about it. Everything in here is okay, because all of the changes that we do are based on the geometry. But it can go and try to remove these because there's no geometry to support those. They are result of the boolean. So let's bring this one as well. I feel like we should have the same thing in here. And this one as well. Later on when we add the triangulate modifier, it will triangulate all of them. Now, there's something in here as well that we can go and try to delete. Okay, it's done. And now we can go see if we can optimize this even more or not. So let's take this one and this one, remove and do not remove any support lucas support loops in here. Just take this, this removed in here. Like these two as well, and make sure that you do not lose. You do not remove that point that is connecting the Boolean to the main piece. Okay? And one in here. Let's remove these are better optimization. Okay? You say if I try to remove the support loop, it really hurts the geometry. Okay? And one final thing in here and done. So I'm happy with this one. Let's hide it. And now we're left with these earphones. So let's find them. The first ones are these ones which we need to go and try to remove these polygons. And because this is not an important piece, I'm gonna go select Checker Deselect to remove those edges. Let's do the same thing on these. Okay, Now let's go for this one. Checker Deselect, remove. Sometimes it's not removing the vertices. So we go in here and dissolve mode and dissolve edges. And then in here, Checker Deselect removed, maybe offsets. We can hit Control a and x and dissolve edges. Okay, Now, I'm happy with this. Let's hide them. Now. These ones only thing that we need to do is removing these polygons in here, which are not going to be seen. Everything else is okay. Okay, and now we're left with these two major earphones. And everything in here it looks all right. But you can go and try to do some optimizations in here. Let's try to select these edges and then Checker Deselect. We need to go and offset it. But de-select this one as well. Now remove. Okay, he did a good thing without destroying the curvature that much. Okay, Let's go for this one as well. It looks like we already have that one selected. Let's remove. I'm just taking a look around to see if I can remove anything. So let's see about this and I'm going to take a look at here. Checker Deselect, remove. Perfect. But let's de-select this one and remove. I'm leaving this one. Select this, this Remove. There's a polygon in here, which actually it's not going to be rendered. So let's hit I to insert and then another I to insert and collapse. And the reason that I have left this one in here is that let me bring everything back. You see, does this cushion in here, and I want to leave a buffer zone in here in case if we do not see an empty geometry in here. So we see something like this. And then we can go and try to take this converted to face and remove it. Now, let's go back. And now you see we have some support geometry in here and it's not empty. Okay, let's go in here as well. I'm going to take this, do an insert, another insert, and then collapse this one. Take this phase control three to convert that to a face mode and remove it. Now the hyperbolic creation is done. We went from low poly creation, excuse me, we went from 32,000 polygons too, 12,000 only. And it was a great optimization. And I'm happy with this result. Now, I can call the low poly creation done in the next one who are going to go and unwrap the pieces so that we then bake them. And then in the final chapter, we will go on to make certain. These processes are very important at E1 to be as optimal as possible if you're going to get the best result. So just bear with me. We're going to learn a lot of techniques for optimizing the results. Okay. See you in the next one where we go for unwrapping the radio, then we will go for the headphone piece. See you there. 35. First Level Of Unwrap: Okay everybody. Now the low poly creation is done. We're ready to go and try to create a UVs UV editor. And one thing makes sure that all of the UVs that they create have the same name, e.g. in here, we have the UV map for all of them and it will click on all of them. You see that? Let me see. I think one of them didn't have the uv. Okay. That is it. You want to go create a UV and make sure that the name of the uvea is the same for all of them. Because otherwise it's going to cause some problems. You want to make sure that they have the UV and the name of the UV is the same for all. So let's start with this one. And in order to create a UV, we need to first create a seam that goes all across. So that seemed might cause some issues while texturing. So you need to make sure that you place it on a place that nobody is going to see, e.g. now that we are taking a look at here, the player won't be able to see what is going on actually in here. So that makes that makes sense. If we go, try to place the same in here, make sure that you select a theme that goes all across the k. We have selected that. Let's mark this one as a seam. Okay? Then we need to do one more scene. Because now if I go and try to unwrap it, Let's see. We're getting this result in order to separate that, we need to put another seem that crosses this one. So let's take in here and mark seam. Now if I unwrap, see now we get a better one. Of course later on we will go and try to optimize it. For now. Let's go and try to hide it. Now, I'm going to start with simpler pieces to grab the concepts, and then we will go and do more sophisticated pieces. So let's select these. I'm going to go into edit mode, and let's try to select sharp edges. If you want to get that, it's in here. Select sharp edges. I just added two quick favorite menu. Select sharp edges. Make sure that you are in the edge mode. And then it selects the sharp edges basically. So now let's mark scheme. And now we need another seem to cut that. So let's select seem from here. Because we do not have any geometry in here. It doesn't matter if you go and try to make a seam in here because the geometry that cuts is already itself. Let's see. So let's select these and unwrap. Okay, it's done. And now let's go back like this and try to work on this one. So we do not have anything in here. Let's select sharp edges. Okay, perfect. I'm going to make the same. Then one seam that goes all across. We do not need any seam in here. So let's mark seam on this one and then take everything and unwrap. Okay, later on, we'll come back and try to straighten these to make the uv space more optimized. Ok, now in here, let's select one seam in here, one vertical seam and one horizontal scene, and make sure that you place it on the place that nobody's going to see. So now take everything, unwrap. And let's see that It's okay. Okay, then hide it. Then for this one, we're gonna go and see what the select sharp edges does. If you want, you can hit three to go and see if it has selected all of the sharp edges. Okay, It's done a very good job. Mark seam. Now, select everything on rap. And I'm going to do one more thing. I'm going to select this edge in here, mark seam, and take this one because you see it needs a seem to be unwrapped properly. Now, it's a very better result. But let's do something. I'm gonna go back. Let's hit F3 and bring everything back because this is one important step to go select all of them and apply the rotation and the escape and made sure that all of them have the skill set to 111. You see all of them are okay because sometimes it doesn't know the actual scale. E.g. if you take a duplicate piece and try to make it bigger, if you unwrap this without actually applying the scale, blender still knows this one as the same scale as the species. So you need to apply the scale to tell blender that this one has been re-scaled. Okay, now, let's take these, remove them. And these ones as well. Now let's go for this one. Try to take a look. And let, let's just take this one, alt and G By same. And we can do something. Let me go and try to take this mark seam in here because nobody's ever going to see that. So unwrap. Now, it's a straight. And it has a better results. So I'm going to hide this one and try to move on to these pieces. Because these are smaller and simpler, so it would be better to work on them. So select sharp edges, perfect mark scheme. And now we need to select two edges in here, one in here, in here, here, here. Because these are places that the player is never going to be seeing, or at least without problem. So select all of them, unwrap and done. And the reason that I didn't put a c mean here is that let me take it. E.g. if I take this and try to unwrap, it doesn't actually matter because it's all triangles. And we have collapsed that geometry. So putting a seam in such area doesn't matter actually. So that's why I decided not to place a seam there. In here. The first step is to go in edge mode, select sharp edges. Then I'm going to mark scheme. That's one. Unwrap. These parts. It's okay. These ones are okay. But I'm going to select these edges to make sure that they get a straight mark seam. And then take one more unwrap, take anything in here. Now you see they're doing a better job later on who would go on a straight d's, but for now, it's okay. So let's take them and hide. Now this piece is the simplest that we have an unwrapped on radio. Mark see, excuse me, select sharp edges. And I'm going to select this one, make it sharp edge as well to make it seem, excuse me. And this one mark scheme, one seam that goes on across, I want that to be from here. So let's remove that mark seam in here, select everything on rap. Perfect. Now I'm going to unwrap this one and copy the result on this. Or we have this one in here. So let's go take these two edges and remove them. Now let's see. Okay, I want to select an edge from this side that the player is not gonna be seeing. Okay, So let us mark seam, select everything on rap. Perfect. So now hide it. Now this piece needs to be unwrapped and it's gonna be easy. Select sharp edges, uh, free to inspect the geometry to see if all of the pieces have been captured. Okay, Perfect. Now Mark seem unwrap. But then we can do one more thing to make that better. Let's go bring the geometry back. I'm going to select the same, the same and the same mark seam. Unwrap. Now we get a better result in there. Because these will be straightened later on and it will make the results a lot better. So it's good for this one. And now I'm going to select this in here and select this one that we want to borrow the UV from Control L and copy uv maps. But what, you need to make sure that both of the UVs are existing and the name is the same. Now if I select this, you see we get the same UV in here. Take this to remove, excuse me, hide them. And then we're left with the main piece, which I left it purposefully for the last one, because it takes the most to create a UV for. Now. For the first layer, I'm going to start with select sharp eye just to see if the edges that we want have been selected here of three. And try to inspect and make sure that every edge that you want have been selected, the sharp edges. It's perfect and I'm going to mark them seem. So. Let's bring the geometry back. And now let's do an unwrapped. And you see we have a lot of wasted space. So we need to go and try to introduce more seems to prevent a lot of the UV, UV space waste. So let's select this. All of this is one UV shell. I do not want it. So let's try to select these and mark seam in here. Unwrap. Now you see, although it has improved, but there's a lot of way to go. So we need to introduce a seam in here. Let me select this face. Alton G. It selects all the way through. Let's select everything and everything in here, unwrap. And there are some room for improvements. I'm going to select this face and start to manually select all the way to the point that I want that to be only one UV shell. Let's take this one and make it a seam in here. Now, this is basically one scene. We only needed to close that from here. Right-click on rap. And now the same, this piece in here is one UV shell. And that is because we do not have any sharp edges in here. So let's select this. Right-click on rap. Let me see if I can improve this one by any means. So you see it has gone all the way to here and here. So let's do one thing. Let's introduce some themes to start to remove that. Start to remove some of the pieces from that seem. So let's introduce one in here. One seam in here. Mark scheme. Then this one would become one piece. This in here is one piece, this 11 piece. Okay, now you see we converted them to better pieces. Now this one in here and grab. Let's see. This one again. Unwrap. Let's see what we have done. So bring these, try to pack everything, select everything and tried to pack. So there are some room for improvements that we're gonna do. So let's take in here, this is going to be one on rap. So take it on rap, done. This phase in here alongside. This is going to be one unwrap. So let's take this face and try to collapse it. Now. Let's increase and unwrap. Then I'm going to introduce some themes in here. All the way to here. Mark scheme, and then take these, just take them all tangy and then unwrap. I do not need to select this edge in here. Control Z to go back and then take this one, Alt and right-click and unwrap. And there are some problems in here. So I'm gonna do one thing, take this edge because that is so thin. And if you go and collapse it, nobody will ever understand. So looks like there are some problems in here. Instead we can go take this edge in here and collapse it so that we get this one instead and take this face. And we do not want this one, this edge to be seems so clear seam. Take it and do one on one pack. It looks like that collapse has caused some issues in here. So let's go back. I'm going to remove that collapse or bring that back. Okay, now it's not collapse and we can use it. So let's try to make some seams in here. Take this one and this one as well, unwrap. Later on, we will come back and try to strengthen them. But for now, it's okay. So this one, just select one and Alt and g on rap. This one is going to be one unwrap. This one went on Wrap, which is already done, and this one as well. Okay. That's election did a very good job. So now let's take everything and tried to pack to see if there's anything round. I'm just trying to inspect the result to see what happens. And this is here. And if you want to check to see if the result is worth it, you can go to UV toolkit and apply a checkered pattern on it to make sure that everything that you do in here is going to be a good result. You want to make sure that all of them are square. You see, that is the case in here, except for this small area in here. So let's go see what is the problem with it? That is not a problem. That is because the scene in here cause that. So remove all of them. Now this one has been unwrapped as well. Of course, later on we will come back and try to pack them. We will do a lot of more improvements. So now let's go and start to unwrap these by these two pieces. So make sure that they have the uv maps. Okay? And then I'm going to take both of them and select one of these edges. This one in here, make sure that it's selected. Edge that is not going to be seen so much. So this is good mark scheme and now select everything. Unwrap. Looks like it didn't create a seam in here, selected mark c, and then unwrap on this one as well. We've done that. So high rate. Then this one in here. Let's see what he could do. I'm taking that and do an unwrapped. Perfect. Let's see if we can go to UV squares and try to snap it. Okay. Mainly doing a good job, but there's actually more room for improvements. And we will come back to refine that better later on. For now, let's hide it. And for these two wires, it's very easy. All we need to do is selecting an edge that goes all across and one in here. Let's select an edge from this bottom side, here and here. Okay, Mark C and then take them and wrap. Now this is going to be hidden. The next piece is this one, which is very simple. Let's select all of them, right-click and clear sharp. And then select sharp edges, mark scheme, and then take them. Unwrap. It, did it. Now these pieces in here. And they're gonna be so easy as well. So select Chart edges, mark scheme, and we need to introduce another seem in here. Okay? Then hired. Then let's work on this one. And then we will copy the UV on other pieces that are similar. So select sharp edges. It's doing a very good job. Let's go pick these. Now let's not pick them. Okay, Now, Mark seem, select them and unwrap. Looks like we need to introduce another C. Let's do another zoom in here. Take it and now unwrap. It, makes it a straight. Okay, Let's go back. Now. I'm going to select these three, and this one that has the UVs control and L copy uv maps. So let's take these selectin. Looks like. It's good. We have three instances, which is alright, so let's hide this. Now let's try to work on this piece. Let's go in. Select sharp edges. Okay, Mark C. Let's try to make an on-ramp. And definitely we can improve that. So in this middle area, I'm going to introduce a seem to make these straight. So let's select one seam in here, the other edge in here, mark scheme, and now select this, unwrap, it becomes better. Let's do one thing. I'm going to continue the same all the way through mark scheme and now select everything, unwrap. It looks like we haven't selected a seam in here, mark scheme. And again, another unwrap. An inner area. I'm gonna go because it has introduced some unwanted seems. Let's try to select these seams and remove them because I want this one to be one continuous flow. So take this right-click and clear seam. Now select this one, but we need to add a seam. So I'm going to add that in here, mark scheme. And now in polygon mode, select these unwrapped. Now it becomes one continuous flow. So now in order to make the result better, I'm gonna go and add one seam and this counterpart area. Select this edge, this one. And this one that goes all the way through. You see we have added one seam in here and one scene in this area. That is going to be a lot better. Okay, this is it for that. But instead of unwrapping this, I'm gonna go take this piece, take anything in here, remove it. So now I'm going to duplicate this in X. Okay? Then let's hit Alt and H, bring everything back. I'm going to select it. And the mirror is going to be done by this pivot in here to bring that exactly on this side and apply the mirror. And we're good to go. So let's hide these pieces that we have unwrapped already. Okay. Now these ones and the radio has been unwrapped as well. So let's try to work on this. Looks like we have two pieces only left from that earphone. So take it, I'm going to go in edge mode, select everything and clear sharp so that we can select by sharp edges. Let's make this one sharp as well. Make sure that it goes all across. The seam needs to be selected as well. So this one. And now I need to select these edges as well. Mark scheme, select everything on rap. Then now we need to select a theme that goes across. So let's unwrap and now you see the seams become much more optimized for the workflow. Later on we'll come back and try to fix them. So for now, it's okay. Let's see that singles all across to here. It's perfect. Now, let's go for this one. Let's remove sharp, select sharp edges now. Okay? I need to deselect these edges in-between. Here. It looks like there are some problems in here. Let's go take them and remove. Only tried to de-select these edges by control, dragging on them. This one in here needs to be selected. And this one as well. It looks like for the most part, we have a good result. Both select these ones as well. Mark scheme, take anything, unwrap. And we did a good job. Except for this area in here. Let's see where that is from. So we need to introduce some seems to hide this area from that. So let's select it and try to manually select what's in here. Make it a separate unwrap. Now on rap and it's done. There are some ugly pieces in here. Let's see where they are. From. There. From here. Let's keep it. Now the first layer of unwrap has been done. We have now unwrapped the pieces in the next one, we're gonna go and improved on wraps. We're going to make sure that we take e.g. all of the pieces from here. And now you see we have a very bad result in here. So we need to go pack the UVs in here and make sure that anything that we have in here is gonna be packed perfectly. Okay. See you there. 36. Radio Low Poly Unwrap: Okay, Now we did the first level of unwrap and let's check it to see what we have done so far. And say, we got a decent on rap. It's not perfect, but it will get the job done. But there's a lot of problems with this one, e.g. for something like this, you see that this one has a bit of curvature. So it's not going to be the most optimal way of unwrapping things. For such a thing, we will go and try to make them straight so that when we pack them, that will do packed a lot more optimal, e.g. something like this. If you make that a straight, we'll be packing them a lot more efficiently. So now we're gonna make them all, or at least those ones that have the capacity. And illustrate them. And make sure that the packing is going to be as high-quality as possible. E.g. let's see, take a look at something like this. You see that this is bent. So that is going to cause a lot of inconsistency throughout the unwrapping because it's bent and it has a lot of distortions and it's not going to pack so optimally. So now let's go for this pack is in the UV percentage is something about half of the UV space. And it means that a lot of the UV space is gonna get lost, and we're going to lose that. So we cannot afford to lose it. So let's bring the padding down. And if you bring the padding down, this painting is definitely the distance between two UV shells, e.g. if you make it a padding of ten, it's going to put a lot of distance between this UV shell and the C. We shall distance, distance in here. But if you bring that down to something like one, it's going to be more optimal for type. Let's set it to high-quality. And there are some settings. Of course, in the intro lessons we'll learn how to install UV Packer and how to use it. But for now, Let's hit pack. And now you see it's probably a bit more than a half of the UV space used using the default unwrapping. For now, have this number in mind later on after we make them straight or atleast make some of them are straight, we will come back and see how much this percentage has improved. And the closer 200, the better it's going to be. No wasted UV space. Because we are working for games and we want to make them as optimal as possible, okay, now, I'm going to start to work on them one-by-one, improve them, and then we'll do one more pack in the end. Okay, now, let's see about this one. I'm going to take this, this, and this, take all of them. And we're gonna go for UV squares and make sure that you set snap. Okay, they're going to be perfect. So now let's take this one, snap. Perfect. But now since we are using this one too much, Let's create a shortcut for it. And it's gonna be so easy. You just need to right-click and add a shortcut. So let's go in here. I'm gonna go to preference. I'm going to introduce control shift. And a has a shortcut to see if we can use it or not. We go four key bindings and just search for CTRL, which represents the control and then Shift and then Control E, excuse me, E. In UV, it's not being used. So it doesn't matter if we go and try to assign that shortcut in here. So I'm going to take this, assign a shortcut. Now then Control Shift and E to do that. So now if I go control Z and take them, now if I take this one, Alton g2, of course this altar and G is the shortcut that we assigned. And now if I hit control shift and it's going to be straight, we do not need to go there and do manual thing. So just take these, make them straight. Like so. Now let's take a look at this one. This is circular in nature and we cannot do anything about it. So I'm gonna go back and hide it. And let's start to work on this one only. And the reason that I've separated them is that because they have smaller amounts of UV islands and were able to work on them perfectly and it works with core geometry better. So let's take this control shift and a. And you see in here, It's good all the way to this point. But in here, since we have some n gowns, it's not going to work that much. So let's take it. And if I hit Control Shift and AUC, the parts that were quad, we're just doing a perfect job. But in here, because we have one undergone in here, it's not going to work. Alright, so now I'm going to hit tab to go to UV sync. Let's see where this is. Just select the face and in 3D view port, just try to zoom. And now you see this is the end goal and that is preventing us from doing that. So now, let's see if I can go and try to remove. This and not lose anything. Okay? Unfortunately we're using, we're losing a lot of data there. And I do not want to introduce a new UV seam in here. So that's a trade-off. You need to decide what you're going to do. That we could do something to make that a bit better. And that is introducing one edge in here. So now let's go see what that does. Let's introduce a new edge in here as well, and then exit out of UV sync mode because it's not going to work in that way. Now control chip than a, okay, It's a bit of pinching there. Let's take this one, remove, then. Take this control shift and e exit out of sync mode. It's showing to add some pinching there. Or if you want to see the amount of pinching that it adds, you can bring in tiling texture on this to see how it works. The best is in here he'll be coordinates. This UV toolkit, just try to add a texture. But in order to see that better, you need to select this, go in here and try to take them all. And maybe do a pack so that they become a bit more resized and you can see what is going on there. Now let's see, let me take this one which is in here. And now we need to make sure that all of them are close to square shapes. So now let's Control Shift and E. You say it does a good job. But in here, there's a bit of pinching, which you can go take. Let me take this one in edge mode and try to bring that to fix it, maybe to fix that pinching. And here's a small fixed and in here you see that there's a bit of pinching going on, but something like this overall is going to be better for the UV later on. Hey, let's take them Control Shift and E to snap them to minimize the better pinching. But now we can go take it, try to move them. Okay, We're losing something. A bit of pinching in here in the texture and does a small bit for a better UV distribution. So that is a trade-off. Really need to think about it on what you're going to get. Now, our reset at the UVs on this one, of course, we unwrapped the previous piece, which was this center one. And I'm going to start in the beginning by this and explore some of more ways of how to unwrap such things, e.g. now that we're talking about this, Let's go into UBI sync mode and see, which we're talking about. Okay, let's start to work on this one. Again, I'm gonna go for UV toolkit and apply a checkered pattern on this. Now, one way to unwrap this and make it a straight would be to go in the same UV toolkit, which we explored how to install in intro sections, just take one of the phases. And in here, there's a quote on ramp and a short dot. The default shortcut for that would be shift and q. If you hit it, you need to disable the UVs. Think, okay, let's go and try to take a look. Now. Just take one of the faces and unwrap fallacy. It makes it a perfect quote on rap. But we are separating these two pieces that are not actually quad. So what we can do now is going into one of these edges, into edge mode, right-click and stitch. This is going to bring back the peace that was separated from that stage to read, Okay, now you see it brings that back and we get a straight on Rapa. Of course, there's a bit of pinching in here. But as I said, you need to select if you want to have something like this that occupies more space or having to straight that maximize the uv space. And I believe that there is a shortcut that for stitch is not working for some reason. If I hit Alt and v, which is the shortcut for stitch, it's not working. Although you see the shortcut for here is ultimately it's not working. So let's go to Edit and Preferences. And now we need to go in key binding and search for all time V to see what we have in here. So you see Alton v is, has been occupied by two functions in here. One is UV base, so let's select it and make it Control Alt V. And now the stitch is using Alt and B and nothing else. So now if I select this edge and hit Alt and V is a, it tries to display what edges are going to be attached and you need to click to apply that. Okay, now the shortcut for this one is shifting Q and we can use it with no problem. Okay, one more thing, although like to see this checkered pattern in here, I do not like to see that in here because in the texture editor because it loves my view. So that would be an easy fix. I'm going to go in here and simply remove the checkered pattern so that we see only the UV in here. I didn't like the checkered pattern to be in my view when I'm working on the UVs. Okay, now we've got this one. Let's take it. And because this already has some And gowns, and we know them. I'm going to hit shift and Q. But we need to go to the polygon mode for that to work. So let's hit Shift and q. And then in here, select this edge Alton V, and one more in here also and V. Click. And it doesn't matter if it does something like this later on when we pack them together, this is going to be fixed. Again, I'll say it was a diagonal in here, but when we hit pack, it's going to be corrected to a good rotation value. Then this is another way to use that, to use the UV toolkit alongside with a stitch for something like that. Now let's take a look at this one to see which one that is using. It's using in here. And we already have seen. So let's take it and I'm going to now control shift and E to make it a straight. Or we can go for quad, unwrap to see which one of them gives us best way and the best result because some of them create some pinching if we are not really careful. So Control Shift and E, You sit there is a bit of small pinching. And now if I go for unwrap, the pinching is very minimal. And this one, Let's keep it the way that it is. Now for this one as well. Just hit Shift to drag them out. And let's see which one is this one using? So this is it. Control Shift E or shift q and drag it out. And then this one, Let's see. It's in here, Shift and drag it out. This one shift and q. Now, if I hit Shift and Q on this one, let me select it. This is it. Now let's take a look at it, and it's in here. If I hit Shift and q, Let's disable the UV sinks so we are able to work on this piece in here. So shifting Q, then we need to take this face, bring it here, go to Edge mode, select this one, alt, click, and then Alt and click to stitch it. Now let's take a look at it. Then there's a huge pinching in here. You see, now, this is really not what we're looking for. So we could live with the previous one. This is already looking a lot better. Let's take a look and it doesn't have any pinching at all. Let's drag that out. And the same thing for these pieces. Just drag them out. Now, let's start to work on this shift to drag it out. Shift to drag it out. And now let's attach. These are just together, Alt and v. Ok. Now in here, just select the edge Alt V and click Apply. Now let's go for this one. Also be done. Stitch down. Now, just take these and move them out of the way. So this one is already good. Move it out of the way. Now let's see for this one, shift and Q, move it, shift and Q move it. And now we're left with this one, shift and Q, move it. Well, let's hit Shift and q and change the mode to even. Okay, it looks like this one is given us a better results. Let's see what that one is. Okay, we're talking about this. Let's see about the previous one. If I hit Shift and q and use the previous one. If I use length average on this one, which is a result of hitting the quad unwrap PC. It's using the best value in here on this case. But if I hit even, you see this become even, but There's a bit of pinching in here. So it looks like on this one, the length average is going to be the plus one. And now let's go for something like this one. Let's see where we have some pinching. We have some pinching in here. Let's just select it. And now I'm going to hit cord, unwrap. Just take it. Caught on rap. There's a bit of pinching. So now let's go for even or length. So this is gonna give us a better result already there. Good. Now let's start to work on this. So we have selected, we have this one in here that we need to separate. Now I'm gonna go and try to introduce some themes in here. So mark scheme and this one as well, Mark theme, Mark and Mark scene, because I do not want to make this one a circle. It's going to waste a lot of UV space. So now we have this one. Let's try to select one phase from every shell. Okay, we've got these. Now. Let's right-click and unwrap. Now you see it converts that into four pieces. So now let's select one of these shifts and Q. Drag it out. Just select them shift and q. Now this one shift and Q. Now we need to stitch them. We need to go into edge mode, alt and v apply. Okay, Let's just drag it out. And looks like we have one in here. Also we apply, okay, Now we need four pieces of these ones. Just try to Alt V to get the stitch done. Now, two more are remaining. So you see some ways work for better, for others. It really tried to experiment to see which way works for which parts. Okay, now unwrap this one. Let's go for UV Packer, select everything pack. And how is it they are getting packed very well because we have now a lot of stray pieces. You see, they're getting hacked so well. Although there's a bit of pinching, but it's going to be alright. So now I'm going to copy the UVs from this piece into this one. So I'm gonna take the knob that we're going to copy the UV still and then take the one that we're going to take the UVs from control an L. Copy uv maps. Now, if I select this one and go in, you see the same UVs are applied in here. Okay, now let's take this one and go to UV toolkit. Remove all checker maps, and then select these two and move them or hide them for now, so that later on we will come back and try to pack all of these together. Now you see how it takes some approaches for unwrapping, some others and other ways for other pieces. And you cannot say that one method works for all of them. So you need to see and just check to see which one works better for the piece that you're going for. So now, this is a simple piece. Let's just start to work on it. I have this one. And for optimization sake, we remove the top and bottom faces. So now just take it, Let's apply checker pattern and you see it's not actually what we want because this is all quotes. I'm going to hit shift and q. Let's make it even. It's not working. Let's go for length. So it's not working. Let's unwrap that. And you see now it's given us a better result already. So conformal or angle based, both of them are doing the same thing. Now this is done so easy. Let's remove checker patterns and hide this. Now let's go for this piece as well. This is going to be an easy piece. Okay? Let's take it and let's do an unwrap conformal. Let's apply a checkered pattern. Now take it. Let me see what we can do. Shift and Q, it's going to make it all quotes. That's if you have some pinching, make it length average. You see there's some pinching, but we can try to reduce the pinching by manually scaling this. So now I'm going to scale in x, like so. Let's try to reduce the scale in x, okay? Now you see there are more like squares in here. Okay? Now this one is good as well. Removed checker maps and then hide it. Now let's go work on this one. This is an easy piece as well. Let's take it. I'm going to select everything on rap, conformal angle based. Let's see which of them has given us the best result. Applied, a checkered pattern. And then do one more, one more unwrap. This is the angle based and this is comfortable. So it looks like the conformal is going to give us the best results. This squared, excuse me, circle in here is alright. And now this one, we can easily corrected by hitting Shift and q. Okay? Now, let's see, even is not working length or average, they're doing the best results. Now, this one is done as well. Remove our checker maps and try to hide this. And these pieces are going to be so easy as well. Just take them and we already have them in order to maximize them, I'm going to click on Wrap. So you see it already does a perfect job illustrating that UV shelves. Okay, I'm happy with this. H to hide them. Now let's work on this one. This is an easy piece as well. Just take it on rap. Apply a checkered pattern to see if there's any pinching or not. So for most of the parts, it's doing a good job, but we have some pinching. You see, there's a lot of pinching in here. We want a straight. Cubes in there. So unwrap. Let's change it to angle based. Now you see on this one, angled base is doing a better job. Now, I'm taking that shift and Q to make that straight. And it did a good job. Okay. I'm happy with it. But now I'm not actually liking the way that the seams have been distributed. I'm going to select these and mark this one as same because you see there's a huge change in the angle in here. Okay, now, let's take it and now unwrap. Now you see we got two islands. One this 1.1, this one. It looks like we can go and try to put one seam in here. So now let's leave it be unwrap and set it to confirm all for now. And shift q. Okay, You see now it gives us a good result. Now, remove all of the checker maps, pirate. Now we're gonna go for these simple pieces. It's gonna be so easy, just take them. Now. We have seams all over the place. Just try to unwrap them to make them bigger so that we can work on them. So now again, I'm doing another unwrapped to see which one of them is giving us the best result. So angle based and confirmed, both doing the same thing. So now I'm selecting this one, shift and Q Shift and q and shift and q. Let's drag them out. Or a better visualization, or we can go and try to remove the map in there. So these are good, and these ones as well. Now we're left with this one. Let's see. Okay, It's in here. So let's take a look at it. Shift and Q Shift and Q Shift and q. Later on who will come back and try to pack them together all. For now, we're only working on these small pieces to make them alright, so check your map. Now, while having them selected using the pre-existing UV seams that we did. I'm gonna go select these shifts, enqueue shift and Q, Shift and q. These are by default done, and it's okay. So now let's go back, try to hide them. Now the pieces that are left are this one and the radio itself. Let's see. We only have two pieces for the radio. So now let's take them all. Apply your tracker map. Unwrap. So it's okay. There's nothing more that we can do about it. Let's go for this one. Let's see where we have selected that. Okay, it's all right. There is very minimal angle in here for we can go and try to fix that manually. So instead of going and try to manually fix it, I'm going to select this and Control Shift a to fix it. Control Shift a. There's a bit of pinching, but that will get the job done. And a Control Shift E is the shortcut that we created for this snap. And it works when you are working on the polygons and when you're working on edges as well. So now let's take this one on polygon mode control Shift E. Okay? Now, let's take this one Control Shift E. And now I'm going to work on edges Alt, select the edge Control Shift E, Control Shift E. Now take it as a whole and Control Shift a to make the polygon distribution a bit better. Okay, this is alright. Let's see about this one. If I hit Shift and q, that's not going to work. So no problem, because that's a lot of unknowns in there and these are good as well. Now we're done with this. Let's go for UV toolkit and removal or all of the checker maps. Now we're left with this piece only. So there's a lot of work to do on this one because that's the most complicated piece in the radio. So I left that for the latest one on purpose. So now let's take it on Wrap. Let's see what angle does. So in order to do that, we need to see or check your map to see if the pinching is alright or not. Okay, now, let's take it. You see there's an obvious pinching in here. Let's do another unwrap. Make it conformal, okay, now the pinching is improved, a lot better. So you can look and it's alright. So I'm keeping this one the way that it is because I want the piece to flow over there. Because there's a nice curvature in here that I'm going to keep only on one UV shell. Okay? Now, let's see about this one. It's in here, okay. If you hit Shift and Q We have already done that. So let's see about this piece where that lungs K unwrap. There's not actually any pinching in here. Okay, let's keep it. And let's remove the checker map. I hate it. When I'm working. I do not see I do not need to see that tracker map. And this one is goodbye now as well. If I just take it and make an unbarred, you see now, it doesn't have any pinching. Okay, now let's go for these pieces. This image, one of them is for where? This is it. It's perfect. No problem. This one is representing. Let's see where this one is representing. Just hit Q, excuse me. Hit tab and select the face and see where it's belonging to. It's representing this shape alongside with this angle in here, which I do not want. So I'm selecting here, right? Make a seam and then take it and unwrap. Okay, now we're left with this piece in here, which I'm going to make a straight on RapidProM. So just take everything Alt and Shift Q. We need to disable the UV sink, shift q. It makes a straight on rap. Okay, now get it out of the way. And this one, let's see where this belongs to. Belongs in here. It's working, alright? And these ones are a small faces that are doing a good job. Let's take it. Then. You can hit F in here to see where this one is going. So this is it just hit shift and q while exiting out of the UV sync mode to make it alright. Okay, now, these ones are doing alright. Now we need to take this one shift and q, this one as well, shift and Q to fix it. But in order to make that shift and q, you need to make sure that you have installed this UV toolkit and the quadrant rap has been set to Shift. Thank you. Okay, this one, let's hit F to see where's that laced. It's in here. Alright. There's something in here. Just select it. Now, you can hit F to find it. It's in here. Just hit shift and q while exiting out of that. So it's not doing what we wanted. And that is because there's an endergonic here. So just try to merge them together. Now, if I select this face in here and hit Shift and kill, you see now it becomes a perfect own brands. So there's a piece that is just thrown away. Select this phase Alt V, and now just check this one out. Let's see about this one. Because we have no seam in here. We need to introduce a scene. So let's find a way to place the semen here. And I do not want to see the same in this side. Okay. Just remove that and remove this one as well by holding down Control. And it looks like there's these two points that could be merged as well. Okay, now, just try to take the same and make sure that we do not have any seam there. Okay, Now, Mark, See, now select this one, right-click and unwrap. It does a perfect job. So conformal is not doing a good job. Let's go for angle based cell. Both of them are doing the same thing. So no matter because this piece is not going to be seen ever, say, that is a p star is not going to really be seen by the player. Now, let's drag that out. And this one as well as doing a good job. This one is representing, I believe this face in here, which is doing a good thing. Let's see this one. Shift and q. Let's see where that belongs to. Just select it. And it's this face, small face in here. So it makes sense that the UV is as small as well. So these ones are the ones that we cannot do anything about. Okay, now, we're left with this one. Let's see where that belongs to. Just select it in the UV sync mode and hit F on the mesh to see where that will take you. Okay? This one is this piece in here. It's doing a good job. Just unwrap, make it confirm all or animal-based doesn't matter. This one as well. It's good. So now let's take it. Hit F, and now this is the phase that surrounds it. Okay, exit out of the UVs sync mode by hitting Tab Shift IQ to fix it on this one as well, ship Q to fix it. Okay, now we're left with this one. Let's see. I believe that it should take us to here. Okay. This bottom side, it's okay. And now this one is this top side. And it's doing a good job as well. Now, up until now, I'm happy with the unwraps and how we straightened everything. So now I'm going to hit Alt and H to bring everything back. And now I'm gonna do one more pack on this to make sure that we pack the UVs altogether. So let's apply unified checker map on them. So remove and go for 1024 by 1024 checker map. And we can remove it in here because I do not want to see that. So now, after applying all of these, just save a scene and take one backup, I made sure that you have selected all of the pieces. Okay. Now go to UV Packer and there are some options in here which you need to consider. The first one is the padding. You need to decrease it to something like one. If you decrease it to zero, it's going to make the padding less and make the more optimal use of UV space. But you're going to get a lot of UV bleeding and we do not want that. So one is a safe spot if you want to. Now there are some more options that we can use. One is re-scale UV charts. This is going to re-scale them. And there's pre rotate is going to rotate them around this degree that we have. And you need to set the mode to high-quality. So now let's turn these off on all of them while having all of them selected hit pack. And now you see this pack is very, very more optimal than what we had already. We had close to half, but now we're close to 80, 1%, which makes it way, way more optimal to work with it. And let's see about the textile density. All of them should have the equal size. Okay? Now you see this one has lesser size, but this one is so huge. So now there might be some changes that we need to do. So let's take them all and now apply the re-scale UV chart so that it scales all of them based on their size. Again, now, if I hit pack again, now you see more or less we're getting the same pixel density on all of these. Now, this option is a lot better to use. Now, let's disable that because I do not want to re-scale any further, because now we have the equal pixel density all across. And now we're getting a good result. Now the next one is pre rotate to say if we want to rotate the UV charts to see, now, Let's set the rotation to 90 degrees and see if we can increase this 40 pixels from 74 to something more. Okay, now let's use this angle. It's going to create some diagonal ones, but it's going to be more optimal as well. Let's go for this one. Okay, Now, let's go for the same 90 that we had already. Now, we have disabled the re-scale UV chart. Now I'm going to re-scale all of them together. Now with the re-scale UV charter disabled, this is going to keep this a scale and increase this number a bit. So it looks like it's not. So let's take this. This is preventing us from having a good textual density because everything in here tries to overpass this size and it doesn't allow. So now I'm going to take it and try to just re-scale it a bit. Now while having the re-scaled charts disabled, I'm going to do one more. We scale. Now it's not doing a good job, so let's bring it back to the default place. And I'm going to take this piece in here, just rotate that and try to re-scale. It looks like it's not doing a good job. So let's take it disabled or rotation. Let's apply both of these value to see which one is given us good results. So re-scale all of them together. Just try to see if we can get a better textile density all across. And you can change the rotation as well. Looks like this is the best value that we can get. Then we can go no further. And that is a lot more optimized that having that half of the UV space used in the beginning. And there's also not much more pinching that we are seeing. Everything is good and everything has the same pixel density. And it's very important to make sure that all of these squares that you see around are the same size basically to make sure that none of the texture will get blurry and the neighboring pieces get sharp. Okay? Now I'm just searching for a way. Let's take this one and drag it out. And just take these and see what it does. So let's do experimentation. I'm going to take the half of this UV and try to split it. So now this is two parts. So let's take all of them again. It looks like this is the best way that we can go for. It looks like this is still part of the same thing. So let's take the half of it. Split and unwrap on Wrap. Let's pack. So these two definitely need to be straightened. It looks like the previous way was given us a more optimal results. It looks like this is the best that we can go for. Let's do one more thing. I'm going to take all of them and apply the rotation and the scale. Then try to do one more pack. Okay? It looks like this is the best that we can get from this one. Let's try to do other degrees. So it looks like it's not giving us a good result, by the way. So let's use this. This is the maximum that we can use. Now I'm keeping this. Let's go for UV toolkit and remove our checker maps and unwrap for this one is done. The next one we're going to go and unwrap this one, just make sure that everything has been straight. And then we will go about renaming stuff. Make sure that they have the same material. Set them just like the high poly and those kinds of things for a good bake inside Substance Painter. Okay. See you there. 38. Baking Meshes: Okay, now we've got everything unwrapped and we're ready to export these for baking. So now let's do one test page to see one if the high volume and low poly or are matching together. And the second one is to point out something about the baking and that is matching by name, which we're going to do right now. So now I'm going to do one thing. Let's bring the high poly. And in order to make sure that they are both, Both baking fine, we need to make sure that all of the high poly and low poly components are having the same material. So now, while having all of the radio pieces, I'm going to create a new material and let's just call it radio. Now, all of them are having the same material. Let's go in here. This is a component of the low poly with the Material radio. And this is the components. Again, excuse me, the previous one was from the high poly and now this is the low poly, both of them having the radio. Now I'm going to select the headstone as well, that this is a test page. I'm not going to use that. This is the only see what features we're going to add. So now let's just call this one headphone. And okay, now it makes sure that these will know each other when we are trying to bake them. So now I'm going to hide that. Can take these two. I'm going to export them as a single FBX inside Substance Painter. And I'm not attaching them together because later on when we're trying to e.g. add a material to this, I simply select it because that is a one separate mesh and it would be easier to select them inside Substance Painter. So I want to keep them separate. Now, export as FBX and I just made a folder testing. Let's call this one low poly. Made sure that the limited to select that object is activated. So Export. Now everything has been triangulated and fine. Now I'm going to de-select everything high to low poly and bring the high poly folder. Now, having these ones selected, I'm going to export them as high poly. And because they're having a huge amount of polygons, it should take a bit of time to export them, but that would be no problem. So you Polly and done. So export as selected objects and export. And we're in painter and I'm going to import my meshes. So file new and select. This is the low poly, Okay? And Okay. So now there is no problem in the low poly that we created. Everything is fine because we have triangulated the mesh and we're good to go and import the high poly. And you see the headphone and the radio have been separated because of the material that we assign to them in the blender. And the shading is our right as well. And it's going to make a perfect bake. Now, let's go in here. And under the texture sets settings, I'm going to bring in the bake mesh maps. And only I'm going to bring in a normal, Let's bring the quality up, and let's select the high poly. Now, let's try to bake. I know that I'm going to increase the size. So for now let's go for 0.3 and 0.3 and do a bake. And I'm gonna be back when the baking is done. The baking is done. And although you see we have a good result in here, there are some problems. And one of the problems that we wanted to point out is this result in here. He said, This strap in here now is bleeding right into this radio and we do not want that actually. Let's go see if there are any instances. Yeah, this one you see because the cage and tries to extend, we are we have some bleeding problems from here you see the wires here are having a texture bleeding in here. Mesh parts are so close to each other. That is why you went Substance Painter is try to baking them. That's bleeding will happen. So now there's a feature in here which is called the matching. And we're gonna go match by name. And using this one, we are able to go back and let me hide the high poly and bring the low poly for ease. Then we can go and try to tell blender data, e.g. only bake these two and do not let them bleed to the neighboring parts. So for that, we're going to go name them both equally. E.g. if this one is a strap, we're going to name the high Polya strap as well. The difference being is that we add underscore low after low poly and underscore high after the high poly to make sure that these two only bake and will not bleed onto neighboring pieces to prevent those begging problems. And that's case-sensitive as well. If you name this one, e.g. strap with a small S, the low polygon as well. Sure, shared the same thing. Now this is what we're going to do. Now, prepare them for baking. There are a lot of them that are going to be a, baked only on the slope value. So we want to make sure that e.g. this part, this in here is going to be baked on that. So we're going to make sure that every one of these are named equally. So that we have a baking, flawless baking situation. And something you need to have in mind is that sometimes it gets trickier, but e.g. on this radio piece, the low poly is only a single piece, but let's hide it and bring the high poly bag. And you notice that the radial piece for the high poly is consistent of these three pieces. Hi Pauline is only one piece. Excuse me, the low poly is only one piece. The high poly is composed of three pieces. So in that situation, you need to make sure that when you are naming that e.g. if you name it radio underscore, I just go at an underscore one. And for the next piece on this, go to the next piece, underscore three and so on. Okay, let me control Z to bring that back. And now we're gonna go start to rename these ones and make sure that the naming matches everything, including the capitalization and everything else. So let's start by this strap. Let's bring the high poly. Now. I'm going to take the low poly strap, which is this one. And just to name a strap onto score low. And you want to make sure that suffix is going to be underscored low and underscore high. Of course you can change them, e.g. to LP or whatever you want, but you need to do one extra step inside Substance Painter. So we're going to save ourselves a bit of trouble and go with underscore low and underscore why? Okay, now, let me take it. Now this is a strap on the score low and you see the name in here. Let's hit H to hide it. And now this one, we're going to name it strap underscore height. Again. Now let's for ease of use, let's bring that. Now we got the low poly strap back and let's bring it. I'm going to name it strap underscore representing the low poly. But then later on you need to do one extra step inside substance, but it's gonna be way, way easier than going through. All of these are naming them low, high, low, high, but naming them to L, H takes less time. But later on when you're going to bake things, you want to do something that is in here, set the matching by matched by name and low poly suffix. You need to change this one to underscore L and this one to underscore h, whatever suffix you need to do in Blender, then you need to bring it back inside Substance Painter to make sure that the baking is going to be alright for ease of use, instead of writing low on all of them, I'm going to go for underscore, underscore age, so that it's a bit faster. Then let's call this one strap underscore H. Okay, now we've got underscore and underscore H done. I'm going to take them, hit H to hide them. I'm starting with simpler pieces that we know what they are going to be. E.g. these two pieces only work with each other. So now I'm going to take the high poly, which is this one. Or let's just start with a low poly that has the triangulation. Just call it ring underscore H. Ok. Now take the low poly, paste the name instead of h. We want to make that L. And let's call this one holder. Just take the high poly, rename it. This is going to be older. Now, copy the name and paste the name in here. Instead of underscore edge, I'm going to bring in underscore L H on these to hide them. Now let's go for these buttons up here. And that is going to be an easy fix as well. So just take the high poly which is here. Let's call it Vc for volume controller or whatever name you want to be. Okay, and then let's call this one VC underscore L for low poly. Now take it and hide it. And now there are some buttons in here. Let's try to rename them for ease of use. So now I'm going to call this one V1 for button one, underscore L. Now this one is going to be P2 underscore L, and this one is going to be B3 underscore l, representing the button. So now let's take this one. This one is going to be B1 underscore h, and then take the name and pasted in here. B2 underscore age. And then b three underscore H. So take all of them and hit H to hide them. Now, let's go for this one in here. These two pieces are representing the same thing. So now I'm going to take this and let's call it 01, underscore L. The name doesn't matter actually, the only thing that matters is the underscore and underscore H that you put in the name. Okay. And let's go back. Hit H on these. And let's go for these ones. These two or hypotonia low poly are the same thing. So I'm going to name this 102 underscore L because this is the low poly and this 10200 score H. And then hide them. Now let's see which pieces are representing the same thing, but are easier to select. Okay, this one, let's call this one vc2 for volume controller to and underscore L because that is the low poly. And copy the name in here, just paste it and change the L to H, and then hide them. Now we've got this volume controller as well. The low poly is going to be named VC three underscore L. Copy the name and paste that in here. Now take the high poly, paste the name and rename the L width h. Okay, now we've got this one. Let's call this one. Now Bob underscore L, which is the low poly. And then we got this one which is going to be knob underscore h for height. Now, let's hide to see what else. Do we need to select? I'm going to go for radio low poly folder to see what is there. So it's the actual radio and this lamp piece in the back. So let's bring the wireframe back so that I'm able to select both of them. Okay, Now, this is going to be called the lamp underscore L. And then this one, lamp underscore H. Looking at the folders and the structures that we did is a good indication of how many pieces we have left. And because we have kept the mesh exploded, It's very easy to go and try to rename them just like so. So now let's take this lamp. L and h are done. Go back. And now in the low poly, we're left with only this radio piece. And this is the tricky piece that we're talking about. So let's do one thing. I'm going to name this radio underscore L. Okay? Now let's go for the high poly folder, which contains all of the pieces that are going to be baked on that piece only. So this is the high poly, radio high poly. And this is going to be baked on the low poly. You see, this is it. But before that, let's do one thing. I'm going to rename these main pieces. Let's name this one radio underscore age. And now this is going to be underscore, underscore age. Make sure that the capitalisation and everything is alright. And this is going to be underscore one because this is the first piece that we're gonna bake on that and then hide it. And now the second piece is this one. It's going to be radial H two because this is the same thing that we're gonna bake on that radio. Because now instead of baking one low poly, taking one hyperbolic, one low poly, we're baking multiple high-power you want on a single low poly. So instead of renaming the name itself, we're renaming this suffix so that later on substance knows the order to bake these. Okay, Now let's hide this one as well. Now, the next piece is this one. Let's name it and now this is going to be radio three. Okay, Now hide it. And let's look at the high poly folder to see what we're left in here. Then I'm going to rename this to radio for. And let's take them. Renaming is done. Let's hide them. Now. This one. Let's call this radio underscore five and hide it. And radio underscore H on risk score, the number that we did. Okay, now this is it. Let's take it, this is going to be radio underscore, underscore six. And let's take it. Okay, the next one is going to be seven. Hide it. And then we got this one. And that is going to be eight. Then this one is going to be nine. Hide it. And now we should left only some pieces. Okay, Let's hide the aids. Now this spiral, Let's rename it to ten. Hide it. Now this piece, let's make it 11 and hide it. Now you see we've got 11 details to be baked on this low poly piece. That was why we went ahead and rename them all to radio underscore age and then separate them but Spice suffix so that they only bake on this radio underscore H, which is this one. The low poly for that is radio underscore L. And now I'm gonna do one thing. Let's test it to see what happens. So now let's hit Alt and H to bring everything back. Okay? Now, low poly folder, I'm going to take this one and export it as an FBX. So let's call it radio for representing the radio low poly export. Okay, and now the low poly folder, and bring the high poly folder and export the radio export as FBX. And this is going to be radio age representing the radio high poly. Now let's import the file. This is it. Then of course you want to make sure that the hypotonia or low poly that you bring both have the same material. So we have done that previously. We went ahead in Blender and made sure that every object that we have here, all of them have the same material. And we have done that previously using the material will utilities, which is the shortcut, is Shift and q. You bring that and rename them. So now we're gonna go for bake. For the first one. I'm going to do one normal bake just with the same settings. Okay, Let's bring the radio high poly. And let's extend the cage a bit because we know that it's going to be extended a bit. Let's bake. Now you see, although we gotta bake, but in here you see these are affecting their neighboring pieces. So now I'm gonna go and do one thing. Let's go for match. And in here I'm going to set it matched by name. And now this is an important step. If you set the suffix and blender to be underscore L, you need to change that in here. And if that is underscore low, you need to set that whatever. Just renaming blender, it's going to be like that. Okay, Now we got this. Let's bring the anti-aliasing to a bigger number, and now let's get back to see what it does. Okay. Now you see the bake is done but will no longer see that baked bleeding on other pieces. Every piece is going to be baked on its place without affecting the neighboring pieces. And you see whatever we have in here, it's going to be baked on itself, not on the neighboring pieces. So this is a important concept to keep in mind that by matching the pieces, you do not need to go and explode the mesh. All you need to do is doing a match by name. And it would be all good to go. And you see now there's a strap is no longer affecting what we have in here, and it's perfect. And every object that you have is going to affect only the pieces that we set for. You see, because this radio is only one piece and we renamed these two, radio underscore L and radio underscore, underscore 123 and etc. We have a perfect bake going on in here. So now we're gonna go do the same thing on the headphone piece. So back to Blender now, and we're going to start working on the headphone. So we have the low poly folder. Let's bring the high poly as well. I'm going to disabled the radio for now. Disable the radio low poly as well. So let's start to work on simpler pieces. So on this one, this is going to be wire one, underscore L, The K, and then the high poly piece is going to be simply that name, but underscore H. So let's hide it. And now this one is going to be where underscore, underscore L and a high poly simply h. Now let's hide them. And now we've got these two pieces. Let me just go select them. This cushion in here. Let's call this one head band underscore L. You can make sure that you just enter the underscore L correctly. Make sure the naming is alright, and then copy the name and set the name exactly for this one. What's the difference being? So it looks like Let's copy the name and select the high poly and make it H. Hide it. Now we're left with this one. Let's call it 01 underscore L. And this is going to be 01 underscore h, k, take it and hide them. And now we're left with this connector. This is the low poly. Just name it, connect underscore L. And this is going to be Connect underscore h. Both of them are having the symmetry, so take it and easily hide it. Now let's go for these ones. I'm going to call this ear phones one underscore L because this is the low poly copy the name. And then this one is going to be underscore H, like so, and then copy the name. I'm going to bring that here. Just select a high poly. Now. This is going to be named ear score to underscore L. Okay? Now I'm taking these two pieces and just hide them for now. And let's see what we have in the low poly folder that needs attention. So we got this one, These two main pieces, and we got these small buttons in here which we need to take care of. Just select them. And I'm going to hide them or isolate some, excuse me, and just try to work on them. So isolate. And then I'm going to take the low poly, this is going to be B1 underscore L for representing the bottom one. This one b2 underscore L. And although we have some B1 B2 on the radio, because they have the same material. It's not gonna be a problem. Now, this is going to be b, three underscore L, and this one P or underscore L. Okay, Now, take it, I'm going to take the name from this and change that to h Only. Then all of these pieces are going to be polygons. Three, excuse me. Then. This is going to be B, or take them and hide them. Let's go back to see what else we got there. These two main pieces. And now we've got these knobs to be renamed. Just take them. It's going to take awhile to select them. And carefully make sure that you do not select anything else, just the high poly and the corresponding locally. Okay, these are, now, let's just call this 102 underscore L. Let's go for a underscore L or a one underscore L bidet. And then this one is going to be A2 underscore L. And this one is going to be a three underscore L for low poly. And this one is gonna be renamed to A4 and hide it. So now we're gonna go for polygons, and this one is going to be connected to H. And this one to this one, a three underscore H. And this one was the A4 underscore H. Okay, Take them, write them as well. Now, I believe there are two main pieces in here. One here, one in here. Let's go in the high-quality, see. If we have multiple high poly pieces need to be baked on one mesh. So we got these bolts. And then these ones newish need to be baked on this piece. Then this is the main piece. Now we've got this piece. And there should be some high poly elements. This in here, then these ones in here. Now Let's call the low poly, which is here, I'm going to call it and just call this one main, one underscore L. And then this low poly is going to be called main to underscore L. And now whatever high poly piece that we have in here are going to be named main one, underscore. Underscore one. Now hide it. And now I'm going to hide the low poly as well. And then this is going to be named underscore two. And this is going to be named underscore three hydrides. This way it's a lot easier to find them. Then we do not need to go over the folders to see what we have done. Now this one is going to be named for, okay, now let's go for this one and take the name from it. It's going to be made to underscore L and hide it. Now, this is going to be made to underscore H, underscore one and hide it. And then we got this piece, which is the final piece. I'm going to name it. So when I hit Alt and H to bring everything back, and let's go and bring the radio folder both from the high poly and the low poly. Okay, I can now tell that everything is done and everything is okay for a perfect bake. So now I'm gonna go turn off the high poly folder and take these and export them as the low poly. This is going to be my final low poly. Maybe we're going to go do some baking and see if there's any bad result or any unwanted results. If it works, we're going to return back to Blender and try to fix them. 39. Fixing Baking Issues: If there was any problem, we'll just return back to Blender and fix them, re-import re-export to Substance Painter to get the final break. Okay. So I'm gonna call this one radio L, or let's just call this one low poly because it's radio on the headphones together. Okay, Export. Now done. Let's de-select them and try to hide the low poly folder. Now I'm going to bring the high party. Okay, we got it. And I'm going to export everything in here, make sure that you select everything and back face is turned on as well, so that every mesh that is behind, you're going to select that as well. So select everything and just call this one high poly. And make sure that all of them have that material naming as well. You want to just rename all of the radio pieces, either the low poly and high poly to the same material and the headphone as well, so that we do not get any baking errors inside Substance Painter. So again, we're in substance painter. Let's go new. We do not need to do anything in here. We will change that, change them later on if you want. So let's select the low poly. And everything is perfect. We got the headphone material, and then we got the radio as well. So now let's go in here. And I'm going to go for a four K, de-select everything except for the normal, and then re-import the high poly. And I know that we're going to extend the cage a bit and we're going to match by name. And then underscore. And underscore. Ah, now I'm going to hit bake and we should no longer get any baking problems. I'm just going to pause and get back to you on the baking is done. Okay, Now, the baking is done and we should no longer get any baking errors. Let's just take a look at them. Okay, everything is alright. I'm just inspecting the measure around to see if there are any problems or not. So the Cushing is baking fine. And we got a good bake on these main pieces in here, on this one as well. So it looks like we need to improve that. And this is baking fine. Strap, the connector, and everything is baking good. But there's one problem that I noticed is that we have some distortion in here. You see, let me go on the radio. And you see there are some distortions in here. But high poly isn't just like this. You see, it's really nice and cleanly placed. And that is because we have lack of geometry on the low poly. Let me hide it and try to explain what is going on here. So let's bring the low poly and I'm going to bring the wireframe. You see, we do not have a lot of geometry to hold to that. So on something like this, you see we have enough geometry to hold the bake and you see in here is fine on this one. No longer getting any baking errors. But in here because we do not have a lot, a lot of geometry because substance has an option to average normal. This is going to make the normal quality a lot better. We can check that off to see how many problems you can get. But it's going to distort the normals around the vertices that you have, e.g. here you see this mesh in here isn't anything like the baking that we have. Let's hide the low poly and bring the high poly. You say, this one is so flat and on its place. But since we do not have a lot of geometry in here, we need to subdivide the measure bit to try to fix that. And I feel like on this side as well, we should have a lot of these errors. You see in here. We get something like this that is actually not what we want. So one way to fix that would be to sub-divide the geometry temporarily for a substance speak, and that is not going to be making it to the, to the final one. So now just check this result. I'm gonna do one fixed on the low poly and that is going to be temporarily fix. So let's bring the low poly. And I'm going to subdivide this. And if I go and try to use that modifier, e.g. you see, this destroys the geometry completely. If you set it too simple on these curvature areas, It's tries to add some unwanted results. This way, we're going to do a manual fixed on that. Because we're going to do that only on this piece. Because you see, we do not have a lot of geometry. It's relatively big mesh and there's not much geometry to hold for that. But in here, in this area that we have a lot of geometry, you see it's doing a good job. It's averaging everything out, and it's doing a good job. So we need to add some subdivisions to make. The geometry a lot better. So just take a look at this side. We're going to do at temporarily fixed, and then later on we will fix the mesh itself. So if you remember, we talked about a couple of ways to add cuts in a mesh. One of them is going in the mesh and trying to just use the knife tool. But this is going to take a lot of time. And because we are going to do the result a bit faster, we need to do some manual ways. So just remember that we talked about an add-on that we installed in previous lesson. In an intro lesson, we talked about feature that is called a mesh gut. So we're going to create some parallel planes just like so, and then cut them into the geometry. Okay, Now let's bring the plane, I'm going to bring that in here. Let's try to just make it a smaller, okay, now I'm going to place the line in here, like so. And we're going to use this to cut to the mushy, see, now we're going to use this one to exactly, to cut exactly through the mesh. So let's take it, bring it here, apply the rotation and the scale. Now I'm going to bring an array modifier. Let's turn off the relative. We're going to use constant. So it's going to be in x. So let's say, you say along x, it's adding one cut or one plane in every meter. We want that to be exactly in the opposite direction, but in a lower distance, like so. Now you see we have added some cuts in here. Let's go at the amount that we want this to be. Okay, now we have this. Let's do some vertical cuts as well. These are verticals. Let's do some horizontal cuts as well. I'm going to do the same thing and make sure that you do not apply the rotation. Because if you go apply the rotation, you see now it's going to be causing errors. Because then you need to specify that value into z because it's going up. So let's do something, let's copy. And I'm going to rotate that. And just bring it in here and make sure that you apply the rotation, Okay? Now you see this. In order to fix that, we need to just copy this value, make this 10, and apply that in C. Okay? You said this is going in positive Z and we're getting a good result. Okay, now you see for every 1 cm, we are creating the plane, a perfect square plane. Okay, this is it. And now let's do some of these in here as well. Just shift D, duplicate it like so, and try to place them in here. Now I'm going to apply the array modifier on these so that they become real geometry, not fake geometry. I'm going to take them, take this tree and try to join them. So here are three to see which parts were exactly Cutting. And I'm going to just isolate this with these to see. Okay, you see, for every centimeter we're getting a cut now because these are cutting exactly through the mesh. I can go just take this one, take the cutter, and take the mesh that we want to cut as the active object, Right-click and mesh, good. Okay, now you'll see on everywhere that we have that plane, it's going to do one cut. Let's disable the triangulation. And you see everywhere on that plane we had, it's doing a cut. So now we have enough geometry to hold for that. So let's go back and enable the triangulation and now select everything. I'm going to re-export them on low poly. And then let's go in here. I'm going to reviewing that instead of creating a new project, I'm going to go to Edit Project configuration file. I'm going to bring my low poly and hit Okay. Now we'll need to rebate the result again to see the changes. Now, bake, you do not need to do anything. We just changed the low value. It should give us a perfect results now. Okay, now you see the bake in here, because we have a lot of geometry in here. It's doing the perfect bake on that radio. And no longer we're getting those errors. So everywhere that you are seeing some of the distortion in the normal maps, just make sure that you go back, try to add some cuts in the mesh and try to bring that back. Now, if we take a look at here as well, you see no longer we're getting those errors and it's doing a perfect normal bake. And there's something you need to correct as well now that is going into Blender. And now you see we have this ugly geometry shape in here, which is not optimized. And because that mesh cut was done, if we go into the mesh on the edge mode, you see now every edge that we placed using that mesh car has been selected. So just hit X. It's going to destroy geometry. No problem actually, just tried to control Z couple of times to go back to the default stage. Okay. Now a film like Control Z and a couple of more times will help, okay, Now this is it. You can hide it if you want to return it back later on. And now we're just back with the previous stage of geometry. And we do not export this mesh for Substance Painter right now. Later on when we try to make the final mesh and make it for export to a game engine or whatever program you want. They just unite them together, that it would be no problem. Okay, now that we got this, Let's go in here. Just remove it on the radio as well. I do not want to have that line card in there. And now the baking is perfectly done and I'm happy with it. The vape is good on this side as well as this side. Now, let's go bake the rest of the meshes. And I feel like on this headphone, if we go a bit further for the cage, we will get some good results. So now I'm going to just pick on headphones. We have big headphone, which is going to bake only on this particular material. Or bake select the texture which is going to bake across all of the measures that we have. So I'm gonna go for that. Let's go for 0.50, 0.5. Everything said. Now, let's bake on headphones. Okay, let's see. It's doing a good job, but it would it wouldn't be shown unless we just bring the anti-aliasing up. So this is it. Now let's go for 0.3 for all of them. And I'm going to bake all of the textures. Now we're getting a better result. Let's see. There's something in here you see, because we have made the k go too far, we have some bleeding from this area to this area. So since nobody is going to ever see that, I'm going to keep it. Now let's try to take a look. Everything is looking fine now right, on these ones. So now let's take the rest of the mesh maps. And I'm gonna go for, Let's disable the normal. Let's go for world space normal and try to bake it. Okay, this is going to bake the normal alongside with some directionality is e.g. now the mesh knows in where in the 3D space it is. It knows that e.g. it's a bit off to the x or y or z are some effects that later on we will apply on the mesh. Now let's go for ambient occlusion, will go back for ID later on. But for now, let's go for ambient occlusion and try to bake that. And now let's bake. Baking is done and ambient occlusion, what it does, it's going to specify some parts of the mesh that are darker from the others and try to shade them a bit. If I just disabled ambient occlusion, you will right away see the result. So this is belonging to headphone. Let's go for radio. You see now ambient occlusion adds some depth to the texture for later on texturing. Now if you hit B, you can see that this is the ambient occlusion. Now you see that although the baby is perfect, but we have some shadowing from this mesh caused by or calls to the neighboring mesh. But since it's not normal, it's not getting shown. But if you want to fix that and only get the self occlusion of the mesh on itself and not the others. He can go on the ambient occlusion and self occlusion makes sure that it's set to only buy the same mesh name. It's going to take a look at those. And let's apply it to all because we have now radio and headphone. Let's apply it to all and bake. You see that now that shadowing area that we had there is gone. And now only the ambient occlusion on every mesh is affecting itself and not the neighboring pieces. So now let's go to Ambient Occlusion. You see, this is the result that we're getting. So let's go in here. You see we get no longer any ambient occlusion in here. And let's see about here. And we no longer get ambient occlusion on these sites. But I'm going to keep that option on. Let's go in there and go to Ambient Occlusion. Make sure that self occlusion is enabled and apply it to all. So now let's hit fake because it's going to be a lot better on some crevices areas, e.g. like the CC. Now, we have a lot of ambient occlusion on these sites, which later on is going to be a lot better for a texturing. And you see some ambient occlusion things which makes it a lot more realistic world later bake. Now one thing that I noticed is that this is a primary mesh and there's actually a lot of focus on this metallic parts in here, on this here and this one here. So we could go on the UVs and try to increase the size of the shells that belong to this piece in here. To give that a bit of more quality to work with. So let's go in here. Let's select them all. You see them. Now, I'm going to apply a checker map on that, like so. And you see this one, we're not having very good textile density. So let's take them all. And I'm going to take everything that belongs to these two mesh, okay? These ones, and now I'm just going to re-scale them just a bit more to give them a bit of more quality. Now, let's go for UV Packer. I'm going to disable the re-scale UV charts because I do not want to re-scale them anymore. Now hit pack. Then again, take these two because these are more important. Then try to pack even more. And now you see by giving these a bit of more high-quality spacing, we're getting a lot of peril results in there. Let's go Just try to increase them a bit more because these two are the most important pieces on this mesh. So let's take them and now take everything to one more pack without reapplying the let's take them and re-scale. Ok, now take everything. And now we have some better high-quality UVs on this one. So let's take them. Set the rotation for 45 and now take everything, bring the padding to one pack. And now we get better results, more squares on these ones that are more important. Now I'm going to select them and give them the headphone material that they had. Everything is fine. But now we need to re-export this because this one needs to be subdivided. Again. I'm going to go just search for the plane that we had. Okay, this is the plane. And let's just Shift D to duplicate it and hide it in case we have something to do with it. Okay, Now, take it and take the target mesh as the active object, match cut. Okay, now take these Export As the low Pollyanna feel like this should be the end of it. So again, let's go try to bake the results. I'm going to activate normal world space ambient occlusion, curvature, position thickness heightened, but normally you do not need opacity for this one. Now let's hit bake, and now we should get more high-quality bake this headphone pieces. So I'm going to pause and get back to you on the result is done. In the meantime, you can go and try to Control Z just once to get that match cut out of the way. Okay, Now take it and hide it and you're good to go. Okay, the beta is done and actually I forgot to re-import the mesh. So now in order to see what effect it does on this part, I'm going to take a screenshot and just take these, export them as FBX. And in here, I'm gonna go for project and select the same unimportant. So now you see we get some ugly bad shading in here. And we're going to fix that. The fix is going to be by baking because we have manipulated the UV and in order to correct that, we need to remake everything once more. And this is the result. Before you see there's a lot of learners in here. And after increasing the uv space for this one, we're now getting a lot more crisper result and the overall quality has increased. So now there's one more thing that we need to bake, and that is the ID map and edema because we have the high poly separated too many chunks. Let me bring that. This is the high poly. You see now, for this one, e.g. we have 23 meshes. And this is going to be perfect for baking a police ID map, because later on using that RED map, we will try to put the colors that we want on places that we want, e.g. on this one, if we want to separate a color, e.g. a, yellow color and the central area based standard reference. There is not actually a way to do that other than having to manually try to paint it. But the id map is going to automate that process for us. So now let's go in here. I'm gonna go disable anything and using the ID map. And the map is going to be from the high poly as well. So let's take it and now it's going to be the color source. We're going to set that to match ID, because now we have different mesh IDs in here. This is one, this is one, this is one. For every of these mesh IDs. It's going to give us one color. So let's take it. And now for the color, I'm going to set it to random so that every one of these gets a different color. So now let's hit Apply to all, because we want to apply that on the radio as well. And it bake. Now it's going to take a bit of time to recalculate that and I'm going to pause and get back when it's done. Now the ID map is done and you see some coloring in here. Let's hit B to go to bake mesh maps and see the ID. This is the ID and you see based on every high poly mesh that we had there, now we're getting one color ID, which makes it perfect for selecting for a later usage, e.g. if I'm going to go and apply something. So this is the headphone as well. For every element that we had there, we are getting a color which makes the color selection a lot easier for a later time. So now let's go in here and let's say that I'm going to bring a yellow color in the center part, just like the reference does. So let's go for Radio, bringing a fill layer. Just try to change a color to something yellowish, e.g. something like this. And now I'm going to isolate that based on a color. We could go isolate based on many things. One of them is based on low poly boards, e.g. this is an actual locally. Let's go add a black mask. And in here we have a masking section. So we could go by vertex, which is going to mask by vertex. We can go for polygon, trying to Polygon select. Then we can go for object. This is going for objects, real objects that belong to the low poly, real, low poly objects that have real representation in here. And then the next one is the UB. It's going to be based on UB. And you'll remember that this part in Blender, we created one UV four. So you see, it's always taking that and getting that affected. Okay, now let's right-click on this and clear mask. It's going to clear that. And another way would be to select based on ITD map, e.g. this bolt in here, you see we do not have an actual represents a heater in the low-quality selected. If I go for object and try to select it, you see, it tries to select everything in here, but we are not able to select this bolt. So in order to fix that, we can go right-click in here. Let's just remove the mask. And you can go right-click and add based on color selection. Now, in here we have a color picker and ID mask is here as well. Now that I selected, you see, I'm able to assign that to this color in here. And it's everywhere that we have that color, It's getting represented there. Okay. Now it looks like we're getting that baking error in there. You see the distorted normals. So again, looks like we need to go back, re-import the mesh. So we're in Blender. Let's see. I'm going to import the low poly file to see if the mesh that we imported, you see now this mesh is not triangulated, is triangulated, but it doesn't have the amount of vertices that we added. So now let's remove them and bring the low poly folder. And this should be the latest fix that we do. This is it, Let's bring the plane that we had to take it and take this one as the object, Right-click and match cut. Okay, it's done. And now let's take it to export on the low poly done. In order to test it, I'm going to just re-import the file that we already exported. Now you see it's perfectly isolated. So now let's go into painter Edit, Project configuration. And once more, we need to import that. And now we only thing that we need to bake is this one in here. We do not need to bake the headphones anymore because the headphone is alright. So go in here, and now we need to bake the radio. Normal world space, ID, everything up until here. This should fix all of the issues. And in the meantime, in here, we can go try to control the couple of times to remove that cut down and hide this one. And you're good to go. Now the breakage done and we're not seeing anything and we're not seeing anything on that boat as well. Because every time that you go back to our edema, the colors are gonna be changed and you need to reapply the colors. If you just try to do anything on the ID map mentioned, make sure that you do not change it till the end of the project. So now let's go in here, color selection. And you see we no longer have that color. Just go pick color. And you see it's back. And we no longer have that errors. Everything is fine. Let's bring the headphone and everything is fine in here as well. Let me see if I can select these panels. Things in here. Create a color. Let's just put an obvious color. Go for color selection, pick color, and I'm going to pick from this one in here. It's doing a good job. Let's go select this one as well. Pick color. Try to pick from here. Okay, not a bad one, but it's gonna be, alright. We can bring the tolerance as well if you want to. Of course, it's going to select some of the colors that are similar to that. But later on you can go and try to de-select them, bring the tolerance up. Okay? And let's see which one this one has selected. You can go try to bring that down and try to de-select the meshes. So after that, he needs to bring in a paint layer. And on this paint layer you can go and try to manually de-select these ones that has been selected. And this one as well. Let's go for that one. Now you see only this paneling has been selected with no longer those being calculated. Okay, now baking is done. I'm going to save the scene. Now this chapter is done as well. So we have one final chapter left for the texturing. And it's gonna be a lot to discover in there as well. Because everything that we have done was to prepare a good session for a text string. So now, See you there where we're trying to put a lot of creativity into this one. So see you there. 40. Explaining The Structure: Okay, everybody, congratulations for finishing the vacant chapter. And now we're gonna go for texturing. And everything we have done so far was to prepare a good grounds for the text string to be. This texturing could really improve or destroy your design. Because a lot of the details are going to pop when we do the texturing. So we should really care and pay attention to how much details we're adding in here. Sometimes over detailing will break. Sometimes we need a simple design. Sometime you need to add some special details. So it all depends on the context and what we want from the object. And you need to have the specialist storytelling in mind so that you can execute it on the design. So this is not an introduction to Substance Painter because I assume that you have already worked with the software and know how well this one works. Of course, we are going to make sure that we explain everything as much as possible. But explaining and over-explain things too much will really take too long and may not be what everybody wants. So now let's go for texturing. And the first thing that I'm going to do is setting up a normal environment so that we can start texturing. So what do I mean? What do I mean by normal texturing environment is that if we go into Display settings in here, we have environment map to render everything for us. So let's bring the environmental opacity up. And he said This is the environment that is injecting the light onto the object and you see whether he wanted or not. There are a lot of greens and yellows and blues injecting light on the object. And even if I bring that back, you see we're getting a lot of those colors. So this one will really destroy or representation of the color. So we need to set up a new studio like lighting environment so that we see real colors in here. Whatever you do on this is then going to be mixed with some of these yellow and the result is going to be not so accurate. I'm gonna go and in here there's studio option in here. There are a lot of them. But the one that I'm going to use is this one. You see now there are a lot of whites. Maybe they're not injecting a lot of the neutral colors on the object. They're injecting neutral colors, excuse me, and not one of those extreme yellow or green colors. So this is what I encourage you to do every time that you are doing texturing inside Substance Painter, because that default HDRI was really shining a lot of the incorrect colors on the scene. So in here, if you want to bring the environmental opacity back so that you do not get lost by the colors of the environment. He can do that. Or if you want a CDO environment and take a look at the environment without any blur. This is it. Or you can blur the environment like so. Let's set that to the default value and bring the opacity down. This is how I'm really liking to work. One more thing that you can do is for the shadows, you can go and try to disable them. You see, now this shadow tries to fake a little bit of darker colors on your collusion parts, which really made destroy our representation. So it's good to turn off the shadows if you want to. And now we're ready to start the text shrink. Now let's talk a bit about the texturing workflow that we are going to be doing. And that is just like the modelling that we read. We're gonna go texturing first the big details. And by big details I mean that the details that are visible from far away. And then we go for a medium details, the details that you can see from medium distance. And then we will go for smaller details, which are actually the details that you can see. So close up, e.g. a lot of those smallest scratches, maybe some storytelling elements and so on. That is the same thing that we did for modelling as well. In the modelling again, we started with beak shapes and try to add a smaller shapes to make that refined. And that is really the workflow that we're going to be going for. First we assign the base colors, the fin, then define the material response, and then we will add more details until it gets finished. You said there are a lot of details that are present in here, e.g. these buttons, these baking details, and all of them, and a lot of them are not present. E.g. the LED screen that we have here needs to have something. We may add some details and we might add additional bolts and things like that using the Alpha and trying to hand placed them on the details. But there is a bit of planning that we need to do. So now let's go take a look at the references. And you see this is the main look that we're going for. And the look that I'm going for is something like this. The main panels of the radio are going to be a color close to midnight, mid lag, something in-between them, maybe with a little bit of tenting. The middle part is going to be yellow. So the design that we're going for is 60 per cent for the main color, 20 per cent for 20 to 30% for the secondary color, which is going to be this yellow. And maybe some additional ten or 20% for the treasury color, which is going to be light orange. So you need to have that in mind. Every design that we are seeing here follows the same rules. So the basic design is going to be something like this. We're going to go for 60 per cent of the color for the main color that you're seeing here. And then 30% for the secondary color, which is going to be the yellow. And then ten per cent for the Treasury color, which are going to be these orange ones. Same thing goes for this one as well. You see the main color in here is something like this bluish color that we have here. It's not blue, but it's a dark one. And you see we have it in here. We have it on the cushions, on this handle. And then we got the secondary color, which is again going to be that industrial yellow and a tertiary color, maybe some reds and things like that. Okay, You need to have that in mind when you're starting to text string. And because we have the ID map, if I go in here to the ID map, you see that we can try to assign different colors based on ID map that we have baked. So now this is what we're going to do now. First we're going to the point the big shapes to find the material response and assign the primary color for each of these objects. So now let's go start with this middle one because I've seen something in here that I really liked it. Okay. This machinery, let's drag it out. Or before that, let's go and create a folder. I'm going to make a folder in here, and let's call it yellow. And I'm going to drag this in here. And this is a smart material and means that it has some layers that will define the material response. First, we have this, which is having an industrial yellow color. It's not metallic at all. And it's very, very smooth. And you see it's shining the light. So what if you drag the roughness up is it becomes a math yellow color, which we do not want. I don't want it to be something perfectly shining. And I do not either want that to be perfectly rough as well. This is good for the response and you see it adds layering in here, which we're going to do now. Now I'm gonna go take this one, drag it out of the folder. Now, I'm going to remove that. I just wanted to borrow this industrial yellow color from that. And now because I'm going to separate that only to this middle part, we simply go to this yellow right-click on the folder and add mask with color selection. And in here it gives us an option to select. Now I'm going to go and select this one. And now you see that yellow color is separated only on these middle parts, which is actually a good thing. So now I'm gonna go take it, let me copy this layer and I'm going to paste it somewhere outside of the folder. I'm gonna go create a new folder. And let's call this one main, because this is going to be the main color. Now based on the references, that is going to be something between black and white, something like around here. This is the base color, the base material response. Later on we're gonna go and refine that even more. So on this main, just make sure that you select the main as a folder and not the layer that we have added in here. Everything that we do on this main right-click add colors, selection, and now select this one. And this one. Now you see we're getting something close to what we have in references. Let me bring you up in here. And you say This is something close to that. We're getting there. But then later on we will go and try to refine that textures and colors and all of that. So let's start from here. Try to pick up that color now because we have some color or lighting situation in here that is not actual lighting situation that we want. Something like this, but let's try to make that darker a bit. Like so. Then we can go for this industrial yellow as well and try to bring that down a bit. Something like this. Now you see we are defining the basic shape, the basic material responses that belong to that. And everything from now on is going to be layering on top of layering to get what you want. Okay, now, let's go for this. Let's see if we can increase the metallic. No, I do not want this to be metallic, or at least for now. Now let's bring the roughness up a bit to make that a bit met. According to what we have in the references. You see in here, we have some glitches that are preventing us from having a good result. First, let's take the main and drag it in here. Now. Can look at it. Here you see, although we have selected the color based on that, the mask in here needs to be refilled. And let's take a look at the mask from here. You see now this mask in here, this white part is wrong thing. If you go to the ID mask, Let's go to the bank and you see there's a small bug in here which we need to pick some annuity. So now let's go in here, and now we have the color selection in the masking tab. I'm going to go after that using this wizard icon. I'm going to bring in a paint than this paint when we're painting, texture is going to have color information to that. But since we're now painting mask, it's only going to be black and white. So let's go M to go in here. And now you can hit Alt and click on this mask to reveal that. And you see now that we're painting, it starts to paint and increase the mask. And if I go back, you see now that we were that we are painting white, it's revealing from this color in here or this folder structure. Now, if you hit X, it's going to reverse that and convert it to black. And if we're everywhere that I tried to paint, it's going to be reversed. Okay, now let's go to paint. And now I'm going to try to erase that because I do not want that yellow color to be shown there. Okay. Let's go for that paint. And now on the paint, we can try to erase from that color. And just try to click hold down Shift. And now, while just holding down shift, click in here to remove that line perfectly. Now let's go see, you see now that glitch has gone, and now this color is only being shown there. So now let's go in here and we have, we have one glitch in here as well, because this is based on ID mask. And if I go into the mask, you see we do not have the green mask that we have in here for this part. So we need to go and add it manually. So let's go add a paint and on this paint, Let's try to manually paint in here. So now this is black and it means that it's going to remove from the mask and it will mask in Substance Painter, if it's white, it's going to reveal, and if it's black is going to remove. Now that you see, we have removed from that is it's revealing from the base white color that we have here. Okay, now let's try to hit X to make it white. And now we try to paint these areas. Then there's a bit of manual fixing and try to hold down Shift to correct that. Okay. Now, let's try to reveal that. For now. I'm happy with the results that we're getting. Now we've got these paneling in here, which I'm going to assign maybe for now a metallic color. So let's go in here. Instead of bringing a default color or using a default layer, I'm going to bring in one of these materials. So let's bring in a folder and I'm going to call it Panel click. Okay, now let's go find dark steel or something like that. This still rust is going to be a good one. Now you see that it's taking all over the place. So now we're gonna go right-click on the folder and add the mask. And the good thing is that whatever you put on this folder is going to be affected by this mask because this mask is applied on the folder selected. And now you see there's a bit of cholesterol which we need to go fix. Okay, try to pick up from here. And now you see if we go try to select the mask, you see there are some areas that are unmasked. So let's go to color selection. Try to bring the tolerance up. Okay, it looks like until here is a good value. But now you see it takes a lot of these areas as well. It overtakes even that yellow color that we had. Because of that, I'm going to take it and drag it under that folder. And because that masking then takes place, we have no problem with that. Let's see if I can bring that even under that folder. Okay. You say it fixes that, but we have some problems in these areas which we can go and try to mask layer on. But for now, I'm happy with this that we have added on this. So now let's go on the mask. Just right-click, excuse me, alt click and click in here and see if you can try to select this mask in here as well. So let's go for mask and then colored selection and try to pick up. This color in here, it's selected that and now you see all of these parts have been masked with that. You see on these white parts, we are showing that metallic color. I'm liking that because these bolts as well are getting the metallic color, which is actually what I want. So for now, let's go for the color. And I'm going to make the color a bit lighter. I don't want it to be so dark. And now we have some blue shade in here. Let's try to drag that a bit more towards the default color. Okay? Now, I'm feeling like taking this one in here and selecting that for this metallic color as well. Let's go for color selection and select that. I'm happy with it. A good color. So now let's see what we got here that we want to assign there. And I'm liking this yellow color in here. And later on we might expand it and do some more things with it. Because now that I'm looking at the reference, you see Now we have this yellow paneling in here, and I'm actually liking this color. Later on we will go back and try to add more details to that. But for now, I'm just carrying about adding the main colors. Now you see right away we can tell that this can go a good direction because we're selecting everything but based on our reference and everything is going according to the planning. So now we got three colors in here. One for the yellow, one metallic for the paneling, and one neutral color for the main color. Now, let's go do something for this fabric in here. I'm going to make it laser or fabric. I don't know what happens, but now let's go in here, add a folder and just call it the strap. Here. Let's find a liter material. Okay, This liter bag applier. Okay, this is going to be the base for this a strap. So now I'm going to right-click and color selection. And now let's go select this one. Now let's see where it has selected. Okay, we have this one, perfect. And this is going to be the main color. Later on, we'll come back and try to add more details to that. Now one thing about selecting these knobs in here, these volume controllers, because the color that we have selected using this, you see, we have these knobs in here. One way to, this electron is going in here. Bring in a paint. On this paint. I'm gonna go bring the selection tool and try to manually de-select that. Let's bring that down. Bring the color to black. And now you see we are de-selecting those and try to manually fix that. But for something like this, which we do not have anything because this is from the ID mask. It can go and try to manually paint, e.g. try to paint that using such a method. Or later on, you can add a folder, e.g. let's add a folder. Just for a sake of adding a folder, Let's apply a red color in it and apply a black mask and a black mass with color selection, just select this one. And now you see, because this mask is above the mask that we have in here, you see we have white in here and white in here as well. And because this is on top, this one is taking over everything that is on top is going to be a priority for Substance Painter for calculations. Okay, now you see we have this selected these buttons and knobs. And now let's go and try to select them. Then you seen here as well. We have this selected because we have that paneling in here done. So now let's go in here on a paint or using the polygon tool and try to manually deselect this. For now. Now let me see if there's anything more to be de-selected now. Okay, now I'm going to add one more folder. Let's drag it up and call it buttons. And I'm going to for now at white color for now and on the buttons, just try to add a black mask width color selection. And I'm going to select these buttons in here to be calculated in that. So the default color is white. Let's try to change that to something like orange. Of course for now, later on, we will try to refund the colors. Let's go for a light orange, something like this, and we can go a bit lighter as well. Now let's go for color selection alt left-click on this mask to reveal that. Let's go four colors, color selection and pick color. Okay? Now, pick this one as well. This one. And I'm picking the colors that we have here. Though. This one and these three ones. And one problem that you've seen here. Let's go for the mask. Is it because the colors are a bit close to each other? It's trying to mask out some of the paneling parts that we have. One way to fix that is by manually trying to fix that. And let's see alt. Click on that one to see where we have that. Okay, You see it's present in here. And in some other parts, one way to fix that would be to try to manually paint them out. And another way would be to go to color selection and bring the tolerance down until they fade away. Like so. If you bring the tolerance down like so, you see now, we no longer have anything other than those selections because sometimes the id color just tries to generate some colors that are close to each other a bit. And that might cause some problems. Sometimes. Okay, now you see it good. And now I can add this one even to the selection. So let's go to color selection, selected later on, of course, I'm going to make a new color to it, but for now, it's good. Now, one thing that we're going to add are these LED screens that we have in here. And you remember that side on these textures to be applied on these parts. So now I'm going to make a room for them. We're not gonna do anything to them, but for now, let's add a color to them so that we know what is going to be going on there. So now let's bring default white color. We're gonna go for a fill layer. And the difference between the Fill Layer and default layer is that using this default layer, you can try to manually paint something, but using the fill layer, your procedurally adding that and you can define anything about it. The PBR response color, metallic, normal, ambient occlusion heights are basically anything that you add. Okay, now I'm going to add a black mask on this part. And you see that I'm gonna go because I'm going to work on a masking section. I'm going to go in here in this wizard. And everything that you do on this is going to be added to the mask. So let's add a paint. Now on this paint, we can go try to hit X e.g. to remove that, Let's go for a mask. Now. Let's try to change the color to something like e.g. a. Color that we can differentiate. Let's just this green color. And I'm going to take this and drag it under this folder because now it's no longer part of this folder. So drag it out. And now you see because we have the black mask in here, it's not getting shown. So now if I had x and try to paint on that mask, Let's remove the paint and clear mask as well on this. Now, I'm going to add a paint. And everywhere that I tried to paint on that mask using white, we're revealing that, but I'm not going to manually reveal that. We're going to go for the selection tool. And because this is a UV chunk separated UV chunk, I can go for the UV section in here. We either, we can go for the vertex, Let's bring the color to white. We can go for vertex to vertex. We can go for a polygon. We can go for objects, which is going to include everything from that object, and we can go for UV. So let's select that. And because we have separated that inside Blender using different UV, you're able to select that easily. And this one was different UV as well. And this one in here. Okay. These are gonna be the ones that later on we're going to apply the LED textures to them. So we have three of them. This one, which is going to be for the main one in here, and this alternative one which is going to be placed in here. And maybe the circle one, which is going to be placed in here. Okay, now, this is the basic color selection that we are going to go for this. And now we do not have any details, but we know that we have a direction to go. And this is very important. When people try to start texturing process or anything, they will just try to go for details, but that is not going to work. Firstly, you need to have a ground to stand on and then go for details. Now, I'm happy with the color on this one. But now let's go do something. I'm going to add a fill layer in here. Let's add a fill layer. And I'm going to make this one a bit darker color, like so. And then bring that on this one. I'm going to bring in a mask. And instead of trying to hand mask or trying to manually mask here, I'm going to add a fill. And you see this fill is procedural. Everything that I add is going to be there. So let's drag. A mask. Let's go see what we can find in here. So let's find a mask in here. And you see based on that mask everywhere that we have black and white, it's going to mix between these orange and this black color. Now, let's go clear that mask or remove the mask. We're going to explain that later on. But for now, let's try to zoom on this piece in here. And we're going to define the first basic response. And then after that, we will go and try to start with the radio as always, and then move our way through the headphones. Okay, now I'm going to hide the radio for a bit of performance. And now let's go to headphone. And I'm going to bring in a folder. And let's just call this one liter because this liter is going to host both cushions and this headband in here. So now in here, Let's try to go in here and find a default liter or plastic or whatever, that sort. So drag it here. And I'm gonna go in here, try to increase the tiling a bit. Something like this. And I'm going to right-click on the folder mask with color selection and try to select these. This is going to be the base color for these ones. And these ones as well. Let's go forward the head band. Okay, this is it. And we got the main part in here. So this is going to be as plastic or metallic thing with a green tone. So let's All this one main. And let's drag this PVC plastic in here. So a good start. And I'm going to go in here and try to select a color that is close to this shade in here. Just try to select. Now this is a very good color. I'm happy with it. Let's bring the radio. Okay? Not bad. Of course, since this one is procedural and non-destructive, we can go and try to change that later on. Okay, add a color selection in here. I'm going to have this one and this one in my selection. Again, the words in here are going to be yellow. So let's create a folder and call that yellow. And again, I'm gonna go for this machinery and try to select only this. So remove it and paste it and bring that in the yellow folder. So on the yellow, I'm going to color select this one. And this one. We got to add a metallic parts as well. Let's go in here. Bring that still rust. Just create a folder and call it handling. Because we have some paneling in here as well. So this is it. Bring the steel rust and let's try to make the color a bit lighter. I'm going to go for a color selection and try to select the colors. This is it. And of course we could have gone and tried to make multiple UVs for this one so that the texture would be a lot more high resolution. But since this is going to be for games, I'm not going to do that. We're gonna be as performance as possible. So let's bring the tolerance up. Like so. But since this is taking everything, so now, because this is taking everything, I'm going to bring that to the bottom of the stack so that it doesn't overtake anything else. Only these parts. Now try to take a look at it. I actually, I'm happy with a color harmony that we have here. So now again, for this one, I'm going to go for such a look. So let's try to copy this main and call it secondary. And I'm going to go for the mask and color selection. Let's try to remove that. I'm going to add this color selection and select this one only. And now this is going to be something of that color, but maybe darker or lighter. But that is going to be around the same color. Okay. It looks like a darker color would be a better one. Then we've got this plastic in here as well. Let's see if we can add it to here. For now. It's doing a good job. But later on, as I said, we can come back and try to fix that. But now the folder structure and anything is done. And in the next one, we're going to try to add details to all of them. So now let's try to take a look at them. And you say, I'm happy with the color harmony that we have here. Colors are close to each other. And let's go in here on this yellow one and try to make it darker a bit to make that closer to the yellow that you have here. And then we have these buttons as well. Let me go into radio. And I'm going to copy the buttons folder and bring that into headphones. So let's paste that. But since the color selection is wrong, I'm going to remove the color selection and pick up these ones. So right-click, add a color selection and try to pick up these ones. Okay? And then we got to select these ones as well. Okay. Looks like these knobs as well need to be on that paneling. So let's select the paneling color selection. Tried to select the color, and try to select these so that they have a color as well. Now the basic color creation is done. And now we can see that there's a future to this land. This is very important, both artistically and psychologically, because now you can try to add details and make this finalized psychologically. I say that it's good because you see that there's a future to this. There is harmony. And you can see that the block code has been done. And only thing that you need to do is adding details and refine it more instead of having a stress about what to do next. Now, we have a plan to go and we know that this is going to answer so fast. So see you in the next one where we try to hide the headphone and try to work on the radio. See you there. 41. Big Radio Details: Okay, everybody, now we've got everything in place and we're ready to start texturing process. But one thing to keep in mind is that if you open this display settings, there should be a color correction in here. Yeah. Tone mapping option in here. The default is linear. If you want to change it to something that is more likely to be seen in a game engine. He wanted to change it to assess. This changes the default tone mapping to something that may be a bit darker, but that is very more likely to have correct colors because every color in here that we see is a representation of the main color, the base color that we have. If we go in the channel and start to separate the base color, you see the base color doesn't change. But if you change the lighting condition, the representation of that color that you get changes. So you need to have a good representation of that color, mostly neutral colors so that you do not get any misconceptions. And that was why in the first place we change the HDRI to something more neutral than having something that has a lot of colors. And sometimes you'll want to use some of these Edge DREs or even import your own. Because your game might use some of these HDRI is, and you want to check that texture in the same HDRI that you are using in a game. That makes sense. But since we are going to be as neutral as possible, we're using the studio ones that you can go and try to get something that might be a bit brighter. Know, I'm going to change. And this one doesn't work as well. It looks like the default one that we had was the best one. So I'm gonna go with this. It has a good representation on the roughness because e.g. this one is really diffused than we do not want that. Okay, let's use this one. If you want to make it a bit brighter to see the colors better, you can go for environmental exposure and try to increase the value. Now it becomes a bit brighter and you can see colors, but let's try zero that out to see the colors in a more realistic manner. Another thing that you can do is to bump up some of the quality in here, e.g. this viewport settings. You can bring the equality of this one as well. And in here there should be here, the quality. In here you can try to bump up the quality to get a better view port display of that. And that is going to make it a lot heavier, especially if you have a lot of layers. So for now, we're good to go with low-quality one. And later on if you want it, we will soon we'll switch back. Now in order to get some of that lighting back. Let's go in here. I'm going to bump it up to one. So one is too much. Let's go 4.5. Okay, Looks like 0.5 is a good one, so that we see some of the colors. This is only for the viewport and doesn't change the final result at all. Of course, it might change the final result in a way that e.g. there might be the very dark of a scene. And we assume that the color is, the dark color is what is causing the dark colors in here. And we go in the layer settings and e.g. try to bump up the saturation of the color. So the final result would be changed. And this way, yes, it changes the final result, but overall, it shouldn't have any effect. 0.5 is too much. Let's go 4.25. Looks like it's a very good value. Let's compare that with 0.25 should be a good one. Now, we're going to start a text string. And to save a bit of performance, I'm gonna go and disable the headphone port now because that is getting shown and having some of the performance. So I'm going to disable that and only focus on the radio. Let's go for the middle that we have here. I'm happy with the color. I'm gonna go because this is looking a bit too much like plastic. I do not want that. I want to make this piece in here, these darker areas to be metallic. So that is going to be an easy fix. We go to the fill layer that we have and bump up the metallic. And for a lot of times you want the metallic to be either zero or one because the metallic is going to change how the render is going to affect us. Okay, now, looks like this is a good result. Let's take a look at it. I'm happy with it. And let's go in here. Bump up the color a bit. Like so. Now this is metallic instead of being a plastic or something. And for this one, we can go for the base roughness. We could make it totally shiny. So WC all of the colors refracted or reflected back, or we can make it totally mad and no light reflected back. Okay, I'm gonna go for something in between. And you can go use this field layers and start to stack up layers on top of layers to make something that you want. Or you can go and try to use these default materials to start with e.g. let's go for this. Still rust and where it has a dark color, it's metallic and it has already some level of wear and tear in it. Because that is procedural. You can go and change some of the parameters in the properties to change that. E.g. we can go change the color, color, noisiness, we can try to change it. These are the parameters that we can change. And now the roughness, you can make it totally mad or he can make it the default one. Surface imperfections. We do not want that. For something like this small radio, we do not want a lot of imperfections. Of course, we will add them later on, but for now, that is going to be okay. And dirt. Then you can see we have some parameters to change that. Okay? One thing to notice is that because we have a lot of seams in here everywhere that we have a scene. And you can see a seam in here. If you set that to be UV projection, it's going to change. So let's go in here. For something like this. It's not showing that well, let's bring something that is too obvious. So I'm going to bring this plastic fabric. Let's bring it on top of everything. You see everywhere that we have a scene that is UV projection. Everywhere that we have a seam, it's going to separate the texture. And we're going to have some ugly seems. And if you go try to take a look at here, is that we have some seams in here. If you want to cure that, you want to go set the projection to try it later instead. So this triplanar, you see, if I just take a look at it now you see now it tries to wrap around the object. This is continuous. And there's another factor which is that harden. It can make it one soda. You see the seams and you can bring it down to blur the same and get a better overall texture going on. Then again, you can go for tiling and try to increase the tiling. Now you see the texture is continuous. So if that is something that you want, you can go study to try planar. If you do not want to see any of that seems. Or if you want to see that based on the UVs, you can go study to try planar, excuse me, UV projection. So now what I'm taking a look at this, I'm seeing that I'm happy with the colors. So it makes sense if we go and try to disable this base metal that we had. And now there's still rust and where is the default color that we have here for the radio? Another tip to keep in mind is that do not work exclusively on one part and leave the other parts alone. Because that demotivates you, e.g. if I put 2 h of time trying to refining this middle piece only and then come back and see, I've done nothing to this yellow part in here or I've done nothing to make these LEDs better. That really is a demotivation factor. So try to bring them up level by level and do not try to work on one detail and leaving the others in place. Try to bring them all up progressively in one level. For the time being, I feel like this might look a bit too dark, especially if you are watching on the video. So I'm gonna go under environmental exposure and change it to something like one that is going to be temporarily so that we see some of the colors a bit better. Okay, now we're gonna go to some changes on this yellow plastic thing that we have in the center. And the first thing that I noticed is that we can go and try to pump up the intensity of these height elements that you see in here. They are not actually geometry elements, they are hide elements that we sculpted in Blender and ZBrush. Okay, we're gonna do some height changes. Now. I'm going to bring in a bilayer. Of course, they can bring in a paint layer and try to manually paint with that. But the best way is going to be using the fill layer because you are able to change it on the fly. So first, I'm going to explain the first method which is using the Payne's layer, which is this one. Okay, Now let's change it. Change the name to something like height. And this changing of the names is very important. Because if you are working on a team and you're going to hand this over to somebody else if they open up the project and see a lot of random Italy named layers. They don't know what to change to get the result. But if you name them accordingly, the other team members will have an easier time trying to see what is going on. Okay, now, I'm going to make this a bit more strengthened. And I'm going to use the first level, which is our first method, which is the add layer. This layer is destructive and it means that when you paint it, it's gone. E.g. if I go and try to bump up the metallic on this, Let's go in here. Bring the metallic. Let me see if this is the Metallica slider. If I try to paint something in here, you see now this is metallic. And if I go try to bring the metallic down and try to paint here, this is non-metallic. But let's say that we're going to have something that unifies both of them. If I go unchanged the metallic to something else, it will change both of them. So that way we're going to go and use a thin layer instead. Using the fill layer is going to be as follows. If you are going to paint manually, you just create a fill layer, define the channels that you are going to work with e.g. let's say that I'm going to work only with the color metallic roughness. So let's disable that height for now. So for the default, it cannot paint with that. So the way to paint with it is by right-clicking and add a black mask. Now we have the ability to paint. Then if you right-click or excuse me, hold down Alt and click on this mask, you see that we have nothing in here. And if I just click once you see now we have one stroke based on a brush size and the alpha that we have here. So the alpha is this default circle and we have some settings in here that defines the brush. Now this brush is the same in here and we have no anything in here. But if I go try to bring up the color, you see now the color shows up. And this is now non-destructive. And it means that every time that I want to change it, I can go and try to change that because now I'm changing the fill layer. And fill layer is showing only on the areas that I have painted on the mask. And this is the good thing about it. And if I go e.g. I want to change something for the height, I will activate the height channel. Let's bring the metallic up so that, that is a metallic using one color. Then I can go try to bring the height down. Like so, to add some height channels in there. Or I can bring it up to make the height additive instead of subtractive. Okay? This is why I prefer using the fill layers instead of paint layers for these things. Now, I do not have any control over these if I'm going to change that. So for now, we know that it's better to use a fill layer. So let's bring that fill and I'm going to just name it height changes. Then in order to make that better, let's disable everything but the height. And for that he can go and try to turn these off. Or the better way if you want to solo that channel is by holding down Alt and clicking on the channel that you want to keep. That would disable all of the channels except for that one that you want it. E.g. if we want to separate only the color, you can hold down Alt and click on that so that all of the channels will be disabled. And this is a good thing to have because every channel that you have, every year that you have an everything that you add on the stack is going to hurt the performance. So e.g. if you are going to use color height only for one channel, it makes sense to go and disable e.g. metallic roughness and normal so that you are using only these two channels to save some performance. It's not going to have any effect on the final result, but it's going to make the performance when you are texturing a bit smoother. In order to make that better, we can go to the brush. We can use some of these brushes, or we can go for the Alpha. Let's go there, Alphas in here. And if you click on one of them, it will automatically be applied on the brush. So for now we do not have any brush. Right-click, add a black mask. If we just click once, we should go hold down Alt and click in here to see that there's another tip. And I encourage you, instead of painting on this mask, just try to add paint layers and try to paint on them. And I'm going to explain to you why is that? So just hit X so that you go to the black brush and try to remove that mask. And now just when you have selected this one, you can either right-click on that and add a paint. It will add a paint under that mask. And this paint is different from the paint that we have. This paint is a paint layer, but that paint is for the mask. The reason that I tell you to do that is because we have the ability to turn them on and off if you want, or we can try to change them at filters, at a lot of multipliers or add a lot of effects them. So let's hit X again to make that positive. Now that I paint, Let's go in here and try to decrease the height. Now you see we have some height in here. Add it to that. Let's say that I want to disable that completely. I can easily go in here, this is my paint. I can remove that totally only using one-click, or even better, I can go to this slider in here and try to make it positive, negative, or anything else, or even completely disabled it. Another better thing is that if you have multiple paint on the mask, e.g. I. Can paint this one on a separate layer, like so. And I have this one on a separate layer. If you planted carefully, you will have ultimate control over your paints, e.g. if I'm going to if I'm unhappy with what I've done in here, I just simply turn that off with having only this one in place. But if you have all of them on the same mask, you will have a harder time trying to work with them. So I encourage you to add your masks on different layers. Okay, now let's see something I'm going to change. We have a lot of Alphas that we can add. And I'm looking for something that represents this shape. Of course, we can go for the same Alpha, who the same circle alpha that we have here. It's gonna be good. But I'm looking for something else. So I didn't find anything useful. Let's use the same thing. Okay, hit X to make that positive. And now I'm going to add a paint, and I'm going to paint on this one. Okay, Let's try to stamp once. Now you see we have the paint added in. Let's go see. We can try to bump it up to the extent that we want. Now let's use some of the effects to limit the effect to extent that we want. Now in order to see the final result of the mask, we go in here, just Alt, left-click on this to be able to see the result. Okay, now you see we have a circle that is fully white in the center and gradually fades out to darkness as it goes to the outer edge of the circle. We have the paint layer in here. We can disable that. We can add some levels in order to change the behavior of the circle. E.g. let's go in here. While working on this wizard, everything you add in here is going to be added to the layers that you have. E.g. we have a fill layer. If we add this fill layer, this fill layer is going to be added to the mask, but this fill layer is going to be added as a fill layer. So you want to keep that in mind. Everything you do on this wizard, they're going to be added to the mask stack in here, or the layers themselves. If you click on the layer, fill layer that you have and add a fill, it will be added to that. But if you add it to the mask is going to be added to that. Everything that you add is going to be added respectively to the layer that you have added. But these ones are separate. And if you add, it's going to add a separate independent layer. Now we have this paint layer. Let's again go Alt, left-click on the mask to be able to visualize that. Then I'm going to add this effect. I'm going to bring a level. On this level, you see that we have some sliders. We can try to bring the black up to limit the white, or we can bring the white to limit the black. And we have a contrast slider in here that controls the fall of, okay, now hit M to go to the material view to see the final result. Now let's say that we want to expand the whites to see more of that center line being shown in here. Just take the whites and expand them. And now you see it expands the whites even more in there. And let's increase the ball off or try to decrease it to something like this. And now you see we have strengthened debt and you can invert that. And let's see how it does. This is the result that we have. Now you see we have extended the whites to the border and we'd no longer have that smooth fall off yet we have a sharper one. And if I go in here, try to invert that you see now, it becomes reversed. Okay, now let's try to take a look at it. I'm happy with it and you can go in here, try to increase or decrease the height. Let's do something like this. And now let's see that without or with it. This is without it. This is the default baked one. Then this is the one that we added using Substance Painter. Now in order to fake a bit of depth in here, I'm going to go add a color. And when you just take a look at the references, you'll see that these effects that we add are a bit of a darker color. And we know that the dark color ruth, fake the depth a bit. Okay, Now let's go in here. Bring the color down. Okay? To fake the depth debate. And two, to convey the message that this might be a plug or something that we plug something into. Okay, Now in order to make that more refined, I'm going to add roughness. And let's bring the roughest up a bit to make that more like it. Okay, Now, it's good. Then we can go try to do the same thing on these ones as well. If we had the same height based on these buttons in here. And we're gonna do that now. So there's one thing that I'm not happy with. Let's go to the mask and to the level, try to increase that. It looks like it's better with, without the levels. Let's remove that and this is a good thing. You see that now you're not happy with one thing. You can go and try to disable that. Because we have the logic in here everywhere that I go put a stroke, this is going to follow just the same thing. And this is why I'm telling you to use the fill layers alongside with masks and these mask stack to get the result that you want. Okay, now let's add another level. Let's just increase the whites a bit and try to see what it does. It looks like this is a better stroke. Overall. I'm more happy with this one that with the previous one, but I feel like we have misplaced stroke and it's not exactly centered to the height bake that you have. Okay? This is the height bake. This is the one that we have. You see now it's not exactly centered. It's no problem. We can easily go to this paint. And if I try to paint with white, you see it's adding. And I'm going to remove that. So I hit X to make that black. Now I'm removing from that, okay, No problem. You can hit F1 to be able to see where you are actually painting. So let's go find that on the texture area that we have. I just found it. It's in here. So in order to pan around in here, you can hold down Alt and middle mouse click to pan around. It can use your mouse wheel to zoom in and out. And that's it for now. So now let's go in here. And now I have a better representation of what I'm going to do right now. So let's hit x and make the brush a bit bigger by holding down Control and right-click, dragging in and out to remove that. And now I'm going to add my stroke exactly in the center of this. It takes a bit of tries, but I'm going to try my best to stamp that in. So let's make that white. And try to stamp couple of times. It looks like this is the best that it can go. And now, because we have some geometry in here taking place, we can go, try to stamp it in here perfectly. So let's try to increase that. So we need to make that a bit more increased. Fake the depth even more on this place. Now, you see by adding this, we have more depth in these areas. Let's add them. Or you can try to add another paint layer and try to paint on them. But since these are all the same thing, I'm going to live with it. So let's try to remove that. And again hit X to bring that back. And I'm going to have the best stroke possible. Okay. Now if we want to rotate on this as well, he can hold down Alt and left-click, drag in and out to rotate. And again hold down Shift to snap it to certain degrees that you want. This is good. And now let's go for these ones. Just take it and try to make the brush size a bit bigger. It's a fake more depth in here. And because we have geometry in here, it's better to use the texture view instead of the geometry view to do that. And if you want, you can try to click multiple times the ad that or strengthen that. We do not want it. So let's try to paint that, okay. Now you see we have more depth in here. Let's try to check with and without it. Okay, perfect. It looks like there's something that we can improve in here. Okay. This is good. And let's hit F2 to go to the 3D view to see where we are going to extend even more. It looks like we can go for this one, this area in here to try to fake more depth. So let's see. I'm going to paint with that. Now. This is adding too much depth in there that I do not want it. I just want these to be just like so. Or we can go try to add another paint. And now let's try to paint with it. So we have one stroke in here, hit X, try to paint to remove that. And just try to put one a stroke. And if you hold down Shift, it's going to continue a line from the place that you have clicked on, the place that you do the second click. Okay, Let's say that we're happy with this. But now we can go on the strength menu in here and try to bring that down to something like this. You can use the full effect or try to limit that. So for now, I'm not going to use that. Let's hit X to remove that. Now let's see what more regarding here. Actually nothing. Okay, So let's do some really subtle color changes on this. Because the Richard, the diffuse color that you have, this base color, the better the texture is going to be. So if we hit C to go to View, so we're using a mask right now. Just expand this one and go to the base color. And you see we have only one value in here. And the more realistic approach is to add a lot of color variation, e.g. just like the same thing that we have here. So you see, we have monotone, maybe bluish thing in here, but with a lot of variation like so. In order to make it more realistic, I'm going to do the same thing on this layer. There are lots of ways to add the color variation. But for the first level, we are adding procedurals to do that, and that makes it a lot faster. Later on if we wanted, we will add that touches to make that realistic. The best approach is to use both procedural ones and hand painted ones. And you can mix the power of two to add the best realistic ones that you have. So the procedural ones are the same overall. If you go and this texture tap, you're able to see a lot of these procedurals. So I'm now going to add a layer and let's say that one, that to be like this white color. Now I'm going to right-click a black mask. Right now. We're not seeing anything because we have a black mask in here. And black mask means nothing. If we tried to paint, it will reveal this is the hand painted method. And we can go and try to manually try to paint e.g. we can go try to paint something. And these areas, if we want, we can go try to add some dirt in these areas. It's not the best way possible, but you're going to notice what I'm meaning. So the best method is to go the first level with these procedurals at later on, at the human touches to that, to make that more realistic. And that is the best way around. So now we have a mask in here. Just go to this wizard and add a fill. Now you see the mask has changed to something mid white with black. And you see now the mixture between the white color that we have and the yellow color that is beneath it. The mask is made one. You see now this is the grayscale mask is 0.5. If I drag it to be zero, we're only seeing the underneath layer. And if I make it one, we're only seeing this color. Let's make it 0.5. Although this doesn't actually matter, because we're going to use a procedural way to do that is by clicking this gray scale and using these textures. And a better way is to be able to visualize them in here. They're the same thing in here. But now I'm having full control and I'm going to see more of them. So now let's say that we're having something like this grunge leak. Just take it and drag it on this grayscale. Okay, now, if we want to visualize the mask, you can go Alt, left-click this one. And you see it's really impossible to do something like this using the manual painting method. You're only going to get that using the procedurals. It's better to use the procedurals as the first layer later on at the final touches to make it really special. Because all of these procedurals are going to do the same thing, although it can mix and match them to get a different result, but their overall going to look like they're just the same thing. So in order to stand out and have a better result, having a mix of both procedurals and trying to hand paint is the best way to go. So now that we have that paint, we have added a fill to that mask and we have it. Now. Let's change it to something like color 01. Just for the naming. And we have all of the controls that we have for fill layers in here as well. We have the projection that we can go try to set to try planar. Let's try to increase the tiling to something like four. Okay, Now you can hit M to go and you see that we have now getting the result that we want. But this is not something that we want, especially on these ones. I want all of them to face the same area. So there's a rotation factor. Let's try to rotate that. I believe if we go for 90 degrees, we should get a good value, 90 degrees. And I'm not happy with what I'm getting in here. So let's hit Control Z to go back. Okay, I can live with that. Now we have the mask in here and we have all of the effects that we can add, e.g. we can add a level to limit that or to extend that and do whatever we want to do is it for now. This is a good color. Of course, this is a good mask. Then I'm going to go change the color to something else. And now there's a good option that you can use. And that is changing the color or changing the color. You can go to the color and try to change that to the color that you want. Another way or a better way is still use these blending options, e.g. now that we have white color, if we go set that to e.g. multiply, it's going to make that darker because every color that we have is going to be multiplied by this color that we have in here. Then you see, if I drag it up, we're not seeing anything because everything multiplied by one means the same thing. But if I drag that down, because we have this value in here, e.g. this color in here, these values, all of these values are going to be multiplied by this value and everything multiplied by something lower than one means a darker value. And by value I mean something in 0-1. And you can go try to use one of these and try to slide down to see which one of them is going to work better for you. So let's divide, multiply. They're going to do good thing. Subtract is a good one as well. Then every color that we have in here is going to be then subtract that by this white color that we have, which is going to result in having a darker texture. So now let's say that we're happy with a subtract. And I'm gonna go with this, but the overall color is too much. So we have a slider in here. We have, we can have the channel selected. For now. We're only talking about the base color. Just take it. And I'm going to bring this slider down. Make that less obvious. We want some subtle changes in here. And you see now we have a richer diffuse color getting shown in here. And let's compare that before and after C now we have only one color, and after that we have a better color. But there's one thing and that is the roughness is the same all across. Let's go see. Roughness just hit C to go to the channels. And this is the roughness. And you see the roughness is the same throughout. And that is being taken from this base level that we have. If I drag that up, we are seeing the roughness change. So let's drag that down to something like this. I'm going to activate this one and this one. And then let's go for this one. And I'm going to activate the roughness for this layer. This term that we add is going to be so rough. Now if we go to C, You see now we have some roughness changes based on that mask that we have. Okay, now let's try to make it a bit rougher. Like so n is c. Now we have some light breakup in the surface of that, mimicking how dirt works in real life. It's not so shiny just like it was before. And you see only using one channel, we're able to add a lot of storytelling elements, entities. We have gathered a lot of dirt in here. And basically you can think of the storytelling and try to apply it around the objects. Okay? This is it. And you can add different channels as well. E.g. you can add the height and you can try to subtract the height from that or at the height. And to something like this one that is a man-made object. I'm not going to add that because that doesn't make sense to add a lot of inconsistency in there. So let's remove the height. And the plan for now is the same thing. We're going to add procedurals on top of procedurals until we have something that we are happy with. And sometimes you want, e.g. if you do not want to see something like this, it can try to. So we have the procedural in here. We can go add a paint. And whatever we do on this paint is going to affect the layers beneath it. If I go try to paint, you see now we are painting with full white. Let's Alt on that mask and go to paint. And you see now we are painting with full white. Adding to that, this is what causes the effect in here. Now, I can go try to remove that if I want to get something like this. But for now, I'm not adding any extra paints in there. So now let's go remove that. There'll be more performance. Now, this is it for this lesson. We added the heights in here to take some depth. We added some level of dirt in these areas and defined the material response for this metallic parts of the radio, which is basically taking a lot of dead space. Okay, Now this is the way that we are going to work. We work with big details with defining the material response. And then later on, we'll zoom out to add smaller details, e.g. this roughness ones, medium ones, and then a smaller ones. And lastly, we will add the final touches manually to make it a better piece. I'm now going to pause this and see you in the next one. Okay. See you there. 42. Radio Buttons And Panels: Okay everybody, this is where we reached in the previous one. And the final thing that we added was this first-level of color and roughness change to the yellow part that we have. So now I'm noticing something and that is, this one is to procedural. And you can guess the effect. And everybody can say that e.g. we have used the grunge and we have used which grants to get this effect than one way to break that is to add multiple oranges and mix and match them together to get a different unique result. So I'm adding another fill. And you see now this tries to wash everything because it's taking the whole place. It's normal. And it means that everything behind that is going to be completely ignored if that is a mask. So now let's go see another one. And I'm saying this one is a directional piece that is going up and down. Let's use something that is somehow in difference with that. And that is this dirt splashes. Okay, now we have added that. Let's take it. And you can see we have added that mask. Let's left-click Alt, left-click in here to be able to visualize that mask. And you say this is the mask. And we're not seeing any of that grounds whatsoever. Because now the blending mode has been set to normal. And it means that everything that is in here is going to take an overtake the whole place. So the first thing that we're going to do is selecting this and setting the mode to try planar, to remove that seem. And let's set that toiling to be something like four. Okay? Now, let's try to see that. And you can see that we get this effect, but we're no longer seeing the grunge behind it. So this is where the blending mode is going to be handy. Just Alt, left-click in here. And now using the blending mode, if I set it to multiply his c, Now we are getting a mixture between both of them. And I can try to bring the multiply up and down or try to use different ones. E.g. we can use subtract to get different effect. Then we can also try to make the subtract factor a stronger or weaker to get another effect. Now you see we get some breakout in the surface of that grunge. You see now it's no longer flowing from top to down without any break up the surface. Okay, now we can add another grunge. Let's add a fill. And you can see now this takes the place already. We do not need to tell anything and this one looks good. So while having the fill selected, I'm going to add this to the gray scale that we have here. Okay, now let's already changed that to try to make the tiling a bit more. E.g. two should be good. Let's go for four and change the blending mode to see something that makes us all of them together. I'm changing the different blending modes. Looks like overlay is going to be a good one. So I'm going to Alt left-click in here to see what we have done using the masks. So let's see here, e.g. this is the first level of detail that we added. Then we added grunge to subtract that. And then we added this one to limit that even more. Okay? If I tried to see you see, now these are just more like different splashes of dirt and I do not want it. So let's bring that down only to break up some of that. So this is how great the mask stack is and you can use it to your own advantage to tell any story that you want. Now, enough working with this for now, Let's add some details in here. These buttons need to have some details on them. So again, I'm going to paint some details in here. So let's go find them. These are the buttons. Okay. Now I'm going to add a fill layer and try to paint different bodies. So let's make it changes. And I'm only going to work with the color and height for now. So right-click on that, add a black mask so that we have the ability to paint details on these buttons. And is it because we have separated the mask, we're no longer being able to paint on different areas, which is good advantage. Now, I'm going to think about adding some details in here. And instead of creating the details in Photoshop or something, we're going to use the library that we have here. These library of alphas are great to add the details. So first, let's go create some alphas inside Photoshop. We're going to create some Alphas in Photoshop. I'm going to make some text. Then bring them here and print them on these areas. And the basic storytelling is going to be that we divide these buttons into play. Pause and stop. Just like any other radio that you might think of. It we are in Photoshop. I just create a simple document and it's important to keep the document in a ratio that is a square, e.g. one k by one k to k by two, k, etcetera. And it's important to keep the background as black because you know, the black mask is going to be ignored and we're only going to paint the white details in here as Mask. Now in order to do that, that is very simple. Just take the paint bucket and try to add a black paint in here. So now we're going to add some text. Let's try to write something e.g. play. And then pause. Let me just bring this up. And then the next one is going to be stopped. Okay? That depends if you are happy with these fonts that you have or you can change them and try to go change the font in here. Okay, I changed the font to something else. It looks like we're happy with this. And it's important to keep the background as black. And this is just like the mask inside Substance Painter. Everywhere that we have black is going to be ignored. And everywhere that we have white, we're able to paint with them. So now I'm going to save this one as a PNG. That is better to save them as PNG, Of course, you can go with PTSD and I believe you can go, but now I'm going to save them as PNG. So now just save them as PNG, okay. Now this is the file that I had. And in order to use it, there are multiple ways you can go and try to add it, add resources, or you can open up the folder and just drag them in on this library. And it's going to do the same thing. So two more steps that we need to do. Just select the resource and the source. Now, we're going to set it as alpha. You can use it as texture as well. But for now, let's set it as alpha. And we want to add it to the project that we have. We have couple of options. One is current session, and it means that if you close and reopen, it's not going to be included in your library. The second one is included in the project file. And everywhere that you save this project, it's going to be with it. The next one is the library. It's going to add it to your default library. And no matter what, if you open up substance for other projects as well, He's going to be there for now. Only two added only to the same project. So hit imports. And now we have in here, and we're going to use what's called this tensile or projection. So to do that, let's just add a paint in here. If you just expand that, you see that we have now something that is called a stencil in that if I take this one and drag it in here, you see that now we get that play pause and stop in here. And everywhere that we have black is going to be ignored. And it means that everywhere that I want to paint, I'm not able to, but everywhere that we have white were able to pay it. So now we have this stencil. One way to use that is by zooming in and out, by zooming the object in and out to fit that. And another way is by holding down S to enter the stencil controls. And you can see that by using S middle mouse-click were able to pan that around without actually moving the object. By S and left clicking were able to rotate that. And by shift, left-click and drag, we're able to snap that to certain degrees. And by holding down as right-click, drag in and out, we're able to make the stencil bigger or smaller. It looks like this is a good value. Now let's hit S. And I'm going to use mouse will add. I'm going to try to exactly place it in here. And you see everywhere that we have black is going to ignore it. And everywhere that we have white, it's going to activate it. Now we have the Play. And let's hit S to zoom in and out. As middle mouse click to place it right in here and try to paint. We're able to add the pause. And now I'm going to move the object. So I just hold down Control and Alt and left-click drag to pan around the object. And let's bring the pause in here because the past has been hidden. So I hit middle mouse click, and this is the stop. And I'm going to bring that in here, and this is it. So now in order to remove the stencil, we can easily go to this stencil and try to remove it. Okay, now you see we have painted these using a combination of Photoshop and Substance Painter. And that is a good storytelling as well. Now the color, but actually do not want it to be like so. So now let's go do something for the base color. I'm not going to make that like so let's try to drag it down a bit to something like this. And actually it's a good value, but I'm going to make it a bit lighter. Let's make it darker, but in that shade of the same color. So now in here we have RGB. Let's go for hue saturation and lightness, and try to saturate the color a bit more or desaturated. I'm changing the color and let's try to use the full value, or I'm just trying to change the color. So let's go back. And I'm going to bring the value down on this. So now let's see, it's not actually working. So let's do something. I'm gonna go back. Let's close that. And I'm going to use the same texture that we had for the body of the radio and apply that on here as well. And that is going to be the still. We're just drag it here and now we have the same color going on. Now I'm going to change the color on this shade. So let's go for the color and try to color pick this value from here. Now the colors look more metallic and to the point that I want. And now let's go bring the saturation or bring the value up. Now this is more like the colors are actually looking Metallica as well, which I'm liking a better thing than having those clastic ones that we had before. So for now, I'm keeping this one and for the color of this, I'm going to keep it darker color. So let's go change the color to something darker, like so. Now, in order to make it more lives than in place, I'm going to add height as well. So we can make the height positive like so. Or we can make it negative to go carve in the object. So it looks like the negative is going to be a better one. Like so. Let's take a look at it. And I'm happy with it. Let's see. If I can increase the height even more without actually adding a lot of glitches. And this is going to be a good one. So now you see we have these. We can go try to do whatever we want to do with this. We can try to paint white with them. We can try to remove, we can add as many details as you want. So for now, let's do something. This is looking too fresh and new. I'm going to go in here. After this paint layer, I'm going to add a filter. And this filter are great ones if you want to add extra touches to your mask as Slack or whatever you want. So let's go in here. If I can blur. The blur is going to blur the mask in here. And as the result, whatever that we have masked is going to be blurred with it as well. So now this is too much of a blur. Let's go make it just a 0.1. Then after this one, I'm going to add a directional blur. Let's add a filter and blur directional. Now, let's not use that. Let's use the slope blur. So slope, and this is going to be too chaotic If you're not just paying too much attention. So bring the intensity down and just try to add some inconsistency. The object. This makes it much more manmade than what it was before. So let's try to take a look at it. This is the previous one. We added bit of blur, a bit of inconsistency as well to make it better. Okay, Now, I'm happy with this. Let's go add some icons on this one as well. And instead of creating them in Photoshop, I'm going to use the library of substance. So let's take this one, remove it or excuse me, collapse it, add a new layer. Again, I'm going to add only color and the height. Okay? And now let's change the name to height changes with 02 and make this 101. Right-click, add a black mask. Then I'm going to use some of these icons that makes sense to be included on a radio. So let's take this one. And in order to rotate that, because now this is a part of alpha, as you see like that. So just hold down Control and right-click drag to make it bigger or smaller. And for something like this is going to better to use the orthographic view view because that is going to make it exactly the orthographic view, e.g. from front view. And this one is a bit distorted with the perspective you see now. It's not fully orthographic. But if we go change it to orthographic and while snapping around or rotating around using Alt and left-click, if you hold Shift, we're able to snap it to certain degrees. And now this is exactly orthographic. So hold down control and left-click while dragging. Looks like we can change the rotation a bit. Let's come in here to be more exact. So the angle, let's set it to 90 degrees to be more exact with it. A stamp. To be able to see the result. Let's go change the color to something darker and the height as well. We can add a negative height. Add some more details. This one is good. Let's make it a bit darker to fake the depth even more. This has good. Later on, we will come back and try to refine that even more. Right now. It's so jaggedy and glitchy looking. We'll fix that later on. Now, let's take this bell icon for no reason. And take it and just try to set the rotation to be the default one. So zero that out. And then the next one, Let's use this one. So I'm happy with these ones that we are adding. Let's take a look at them. Okay, I'm happy with them. And for the color, Let's go and make it a bit more lighter. And let's come in here for the mask. Again, I made it, made a mistake. And everything that I paint that is on this mask, not the paint masks that we added. So no problem. Let's go add a level. And using this level, we are able to expand them or try to weaken them, strengthen them, Let's make them a bit more strengthened. Okay, so now let's see the results. Right now. They are to jaggedy. Let's see that with and without it. Let's drag the white out a bit. Let's bring the level like so. In order to remove some of that jaggedness, we can go add a filter and add a small blur to blur that. But this is going to be too much. Only adding very small blur. Now this is looking a lot better. Let's see if I just change the roughness of the base color. This one that we added to this fill layer, we're going to remove that. And in order to differentiate between the buttons and the surface, Let's add some more roughness into the buttons. Okay, now, I think this is a lot better, although we have something metallic, but that is going to be not so smooth, just like the main surface. Let's go for this one. I feel like we can go and try to make the height a bit stronger. Of course, my taste is to have the maximum contrast on these areas. If yours is different, you can go use whatever you want to. In order to unify these together. I'm either going to lighten this up or darken this up. So let's go in here. I'm going to select this layer. It looks like we could darken this one a bit more. Make it more united with previous one. Okay, this is better. Right now. Let's go add some height changes that these baked ones as well. So now we're gonna go back to the main folder. Yes, this one, I'm going to add a fill layer and let's call this one height changes. And just confirm it and make sure that your layers are not having the same name. If later on he used the anchor points, you might get some errors. So this height changes and this one are the same. So I'm going to change it to main e.g. something that differentiates them. So now I'm going to right-click and add a black mask. And instead of manually painting, we're going to use procedurals. Make that happen. But the problem is that if we go add a fill and add a procedural, e.g. let's say that we add a procedural. I'm going to add something directional. So let's use this one. It's taking the whole place and I do not want it. So we're going to limit that only to these areas. So before that, I'm going to specify the area that we want to limit that by adding paint layer. And on this paint layer, we are able to specify in which areas we're going to have that. So we have the white color in here. Let's go and change the color, change the alpha to the default one. And let's go bring the circle alpha and use the default circle one. Let's see the fault now. Because we have a circle in here. If I tried to paint with squares, we're going to have some bad results. So let's go for Alphas. And I'm going to try something circular. And this is the one, this is the default alpha that is circular as well. So control, right-click to make that a stronger and we're already should be an orthographic view. Let's try to stamp that exactly in place. Okay, this is good. And let's go for this one. This is good as well. This is going to be only the area that we're going to limit. This is going to be good as well. Now, I'm going to add a procedural and only limit that procedural in these areas that we have masked. So let's go add a fill. And this fill, I'm going to add something that is directional. So let's go in here. On the Texture tab. Let's go see if I can drag something. Okay, This is a good one. This stripes is a good one. So take it and drag it in here. And you see that is taking the whole place and we do not want it. So the first thing, let's try to toilet a lot, e.g. like 1010 is we can go for 20. Let's go for 30. Okay, this is good. And now we're going to only affect that to these places. And the way to do that is by changing the blending mode, e.g. Let's explain that to see how we're doing. Just Alt, left-click on the mask. You see that this is the circle of radius that we added. And it's just mathematically explaining everything that is in here is black except for these areas. And now if I take this, uh, stripes and set them to multiply, you see now everywhere that we have black on this paint, which is the whole place, is going to be ignored and only the areas where we have white or being shown. Now we are only showing that in these areas. Okay? Now good stuff in here. Let's go first for the height. I'm going to add additive or subtractive height. And you see how many details it adds. Okay, let's take a look at them. Let's make these ones additive. We can add the color as well. E.g. we can change the color to something darker, or we can totally change the color to something like this to have a different color than the rest of the pieces. So now let's go for something like orange. If we go in the base color, you see now, this is what takes effect. Okay? And of course we can go change the mask to something else at the levels to make that a stronger or weaker or whatever you want to do with it. So levels bring the whites up like so, or bring the blacks up to remove that. We have the ultimate control over that. And it looks like by making that a bit stronger, we're getting the result that we want. Not so strong because that is extruding over the surface and you do not want it to such an extent, it's good value. Let's see if we can go and try to add a metallic as well. I'm going to add the metallic can make it metallic so that it matches with the rest of the pieces, just like these speakers that we have in here. So now let's look around to see what we're going to do. And I feel like we didn't do anything on this side. So let's take a look at it. Now let's go for a reference to see how that is looking. So you see that we have some of that orange in here. Some of that paneling have been marked with that orange color. And now this is what we're going to do now. Okay. I'm just taking. This color that we had here, because I'm going to replicate the same color on that side in order to stay more consistent. So let's go find it. And that is this one. Let's see that I'm going to select this layer and bring that. I feel like it should be in the main folder. Okay, let me bring that here and paste it. Okay. It's what we have here. And it has a lot of good wear and tear. And we're going to limit that to only some places. So we have this and let's do something. I'm going to change the name to panel carvings. Now on this one I'm going to add a black mask to remove that and add a page. And now wherever we paint, we are revealing from that material. So now let's make the brush a bit bigger by holding down Control, right-click dragging. And if I paint in here, okay, it's a good value. So I'll just remove that. And let's go have a better stroke. Like so. It adds a good color variation in here. I'm happy with it. Let's go do something about these areas as well. I'm going to paint them in with the same value. So when you are painting manually like this, it's a good idea to have the lazy mouse activators. And lazy mouse will make your brushes a lot more smoother and more in place. And let's see that, let's say that what we are seeing, okay, You see that painting with this brush in here and say, it's just going the way that it should. But if we add the lazy mouse, it's going to take average of them and make the brush a lot smoother. And especially if you are painting with mouse, it's going to remove a lot of that handshake that you might have during the paint. And it's going to make that a lot more smoother and a lot better. Okay, Now for now, I'm not going to use that. So let's use it. Who said let's use it? Or first, I'm going to paint these areas in with this color, and then I will paint the panel lines using another field. Okay, let's try to paint manually. And just try to paint. Let's go with lazy mouse. And you can drag the slider up and down to make it lazier or try to limit laziness. If you drag the distance is c Now, it's way, way more lazier. And if you drag it down, it's just like the activating that. Because we have a straight line in here. I'm just going to do something, just control in here and shift drag. And having the control left, you can paste a straight line from there to there. And later on we will come back and refine that. Just click in here, hold down Shift and Control to snap it to certain degrees. Like so. You're able to paint around the object like so. And then if you wanted to, you can come back and try to limit that. So for now, let's go back. I'm going to paint in the lines and I'm not going to extrude the lines at all. Okay, Let's go hit C to see the results in here. And just try to paint this area out with a little bit of painting. And because we are painting on the mask, it can hold down X and try to paint some of that mask out. Now, I'm only defining the borders for them. Later on we will come back and try to refine them even more. So hit X again to go back in here, just paste a line like so. And on here as well. Now try to fill this line with information like so. And because we have the lazy mouth, it's going to average perfectly to the surface. Ok, now in here, Let's take that and remove this area. And for the last one, let's go for this one and try to paint. The reason that we're not painting on this area is that. Somewhere up top, we have masked that part. If you want this to take up the whole place, you want to drag the folder up. And let's see what I mean by that. Now we have this folder. And if I take this and drag it all the way to top, you see no, it's not doing anything. So let's leave it be it's respecting the height channels that we have. Now we have these colors in here. Let's go try to paint them with orange. So this is it. And now I'm going to paint, and because we are going to paint not so carefully, I'm going to just remove that and try to paint with this because we do not need to have the lazy mouse activated. So if we did something like this, do not worry. You have the x. You can hold down X and try to remove from that. And just try to manually paint on these areas. And for something like this, we can go and try to randomly remove it. Okay? Try to bring the color in these areas. That is going to be a bit of manual work. That is going to be worth it. And it adds a lot of color variation in there. And if you have the Shift, select it, you can just try to fill it in with a straight lines, like so. Now let's do one more, which is the last one in this area. Now, let's fill it in with information. Okay, let's see to go to the base color and you see the areas that are getting affected are as follows. Now, we're having some color changes in here, and that is procedural and non-destructive. If we wanted to change something, we can easily go back and try to change them. And all of these, we have some edge as well, except for this one. And let's add some edge highlight to this one as well. So let's go in here and just add another paint because I'm going to make that not part of these paints so that if I'm not happy with it, I can go back and remove it. So let's go in here. And I want to bring a circle that is empty in the center, something like this, but the circle version, okay, I found it. It's in here, circle split and it has some kind of shape to it as well. And just try to paint. And you see it adds a cool panel line. And because we have some split in the center, it's going to be good as well. Okay. Now, let's take a look. I'm wanting to change the color from this to something that is closer to this yellow one in here. So let's go take this one and try to change the color. Pick the color from this yellow. This is something that you want so you can keep it. But I feel like in order to make that more consistent, it's good to use this color exactly on the body piece. Okay, now, this is good. Now let's select the shape brush, which is the default one, and start to use it. To paint these lines in here. And I'm gonna go imaginary, this. Just double-click to activate that. And let's go and add it on another layer. Like so. And I'm gonna make it so small and activate lazy mouse. Like so. Let's see if I can make these of a sharper distribution or smooth or one. So it might take some tries. One in here and one which connects this to here. Okay, this is good, but let's do something. I'm going to make that on a separate channel because I'm going to activate the height on this one. I'm going to make this one has height. But if I do that on the same channel, it's going to be so chaotic to have a lot of height changes in their technical and height range. If you see, if I try to make that happen, there will be a lot of chaotic minus in here. So I'm going to disable the height and Control C, Control V on the same one. Change the name. And now. I can take the paint. Because when you copy and paste layer, all of the mask and all of the features will be copied with it as well. So right-click and remove. You see now because we have duplicated that, we are seeing all of them deactivate this and this one. And now we're only left with this piece in here. So let's bring them back. Okay, looks like we can go and try to remove the mask from here. Just bring everything back. Now. We can go on this one and try to remove it. Removal effect. We will move effect as well. And now we have only this paint. Now, let's go in here and remove it in here. Now we have this paint, which is a good one. Okay? Now I can go on here and try to change the height independently from the previous channel. Height range. Let's bring the high position down. I'm going to make that something like carved in the surface. Like so have some normal read as well. Now the height is in place. I found out something that this one needs to be continuous along. Of course we're painting with black. So let's take it and I'm going to make the piece continuous. So let's do something. I'm going to make the brush size bigger and try to make that smaller. And use the same brush size for both of the parts. Because we're going to make the same brush stroke from this part to this part. It's good to use a symmetry, but there's a problem because we have exported both of these. If this was only one object in the center of the world, it wouldn't have any problem. But since we offset them to left side and right side, the symmetry is not going to work that much because if I activate the symmetry, see now the symmetry is not going to work. So we need to offset the symmetry a bit to this side so that we can work with it. So let's turn off the headphone. And there's a symmetry option in here. And mainly it's going to be along x. So let's, no, let's move that in negative. Okay, now we're getting the symmetry line, but let's center that exactly in here. So let's bring that and try to center it exactly on this part. And in order to be more exact, it can hold down Shift to snap it. Okay. Let's go for negative 0.8. No, negative 0.78. It looks like something like this is okay. Now, if I try to paint on this area, it's going to be affected on this side as well. Which is exactly what we want to change the brush size, smaller and try to paint your stroke all the way to here. And it takes some tries to do that. Okay? Now, from here to here, just be careful with your stroke. From here to here. There are some problems in here, which we're going to fix. Disabled a lazy mouse and try to remove that from here. I'm happy with it, except for the sports that we can go and try to delete. I'm going to make it from here to here. Okay? And so much it doesn't work, it needs to be offset it a bit. So let's remove the symmetry. And I'm going to just try to remove what we have painted in here. Like so it takes a bit of time. We did it, and now let's go and paint the same stroke. On this side. Of course, we should paint with white. Now, let's do one more. Okay, This lesson is too long. I'm going to remove that and remove this one as well. And in the next lesson, we will try to make this one. Okay, See you there. 43. Radio Text Elements: Okay everybody. Now this is where we left off in previous lesson and we're now ready to go and do some panel lines in here. And right now we're using the symmetry. So let's see if I can draw a panel line. He said, now we're starting from here, but this one in here is a bit offset it. So we need to push this one's a bit to the right so that we push this line of symmetry to that side. So let's see what we get. Now we're pointing negative 0.0, excuse me, negative 0.79. And now I'm going to make it 78 to push that a bit that side, but this is too far. So now we need to bring this one a bit closer and just remember that your values might be different. Or even you might have centered around the center of the world so that you do not have any of these problems. So I'm happy that something like this happened and we're going to hear that. So we found out that negative 79 is too much. Negative 78 is too much as well. So now let's go for something in between both of them, which is going to be negative 0.78. Okay, it looks like we have reached a good ground in here. Now. We still need to push this one a bit. So now let's go for something in-between. I'm going to make the number even smaller to see what we get. Okay, Now, this is the perfect value. And sometimes you really need to add some finer details. So this number to get the perfect symmetry. Okay, Now, I'm not actually liking this line in here. Let's do something else. And based on the references, let me what we have here, there's a line that connects this top piece to the cylindrical, spherical t's in here. So let's just drag a line from here, control shift drag to make a straight line, and then connect from here to here. Now everything is good except for the fact that in here, in this piece we have this cut in here, which is going to make that ruined. So let's do on the side that we do not ruin the line. Let's zoom out. The value is alright, but in here, because we have a cut, we need to take that in mind. So now let's take a line from the center and drag it up exactly two here and two here. Okay, This is very good and I'm happy with it. So let's do some connections between these lines and these lines. And I'm thinking that these are straight cuts are better than those curved ones that we did before. And let me see if I can make a cut from here all the way to here. No, I'm not actually liking the degree, so let's try on another degree. Okay? It looks like a good value. But no. Now this is good. And let's go move on to other pieces to start to change something. Let's go do something for these lines that we added. So they belong to the main folder. And they are here. Let's see the mask. This is the mask. Now I'm going to go mask out this part in here that we have. I'm going to mask it out though that will reveal that that mask to be seen. So let's try to make a cut from here to here. Because this mask is using this same data that we have. You see, it's now using the same thing that we have the logic there. Now, of course we should disable the symmetry. Yeah, we should disable the symmetry, but didn't have that in mind. So let's just try to manually remove those. Okay, now, there should be a cut from here. If this one bothers you, you can go in the texture view and try to paint from there. So we are in texture view. And now because we have painted that, I can easily paint a mask in, if we have some problems, you can go and try to remove them. Okay. And that is going to be a very easy fix. Just hold down Shift so that you cut this straight lines n. That is going to be a lot easier for you to work with. There's a problem in here. Just hit X to make it black mask. And just try to paint that out using manual methods. Like so. Now we'll take a look at it. And it looks like this one is having a really great amount of toiling that we do not want. You see? So let's go in here on that stripes. Now we have 30 toiling That's decrease that to 20. Looks like this is a very, a lot better Of a result. And of course we have the rotation as well. We can make it horizontal by going 45 degrees, like so. Or we can make it diagonal by going to the default value. Because this is diagonal by default, we need, we need to enter a diagonal value to make that a straight, just like so. We can make it vertical as well. Let's go for 1,935 to make that vertical. And looks like the vertical ones in here are the best values. This is good. Now that I'm taking a look at, I'm not actually liking these colors in here. I want these wants to be black, just like this one that we have. So let's do something. I should unmask these from the buttons folder and then mask them out in the main folder. Or first let's go unmask them from the buttons. So let's see. This is the buttons folder, and now this is it. So we need to unmask this. Now, if we go and try to apply a black mask, you see it gets removed everywhere that we have used it. It makes sense if you want to remove the mask and add couple of exceptions to it. But now we're going to remove some exceptions from it. This way, it makes sense to go at a white mask instead of adding a black mask. So white mask, you see is all white. And now we're going to subtract something from it instead of adding from it. So now, now go at a paint. And now this paint you can try to remove or we can go try to use this cut, use this polygon field objects in here. So let's go for object mode, make it black, and try to remove that. And if we go back, you see now these have been removed from the selection. Now I can add another fill layer for this. Let's go see. If I have a plastic that is dark. This one is a good one, but not actually what I want because it has a lot of panels and I do not want it. Okay. This one is good. Let's add it on top. Okay, this is good, but it is solvable. So now let's do something. I'm going to make it try planar, then add a lot of toiling, e.g. ten. Now let's make it 20. Something like this. It's a lot better than having that orange color on this. Okay, It's taking hold place. Now, we're going to add a black mask on this because we're going to remove it and only have it on these two instances. So we're going to do the other way. This way, we're going to add a black mask, and now we're going to make it white and only select these. And we're good to go. And these are back on that selection. And you see the mask on these parts are totally reversed. We have all whites in here, except for some blacks in here. And now we have all blacks in here except for some whites to separate those. Okay? Now we have these, but looks like there's too much grain in here. Let's go see if I can. Now, it's a lot better. I do not want those grains to be too much. And later on we will add details on these buttons. But for now, it's a good idea to separate them so that they do not have the same color as these ones in here. Now, I'm going to take a look at the references. I'm going to add some details what or some texts in here. And when I'm taking a look at the reference, I see that. I see this menu info and jump. And I'm going to specify that for these three buttons. And then we have one input in here and one in here that I'm going to name it input intensity or input volume or whatever. And let's just add some storytelling to these buttons. Okay? Because these are curved. This time, we're going to create texts inside ZBrush, excuse me, Photoshop. And we're going to make those text curve so that we can curve them around these objects. Okay. Another document inside Photoshop. And let's go change the color to black to ignore all of the background except for the pieces that we right. Now, we're going to make a path for the text. So we're gonna go for this path tool and let's bring this one. And you see it's doing a circle. But in order to make that a perfect circle, you need to hold down Shift with it. Okay? Now we're going to use this path to guide the texts to where we want it to go. Okay, let's bring one text in here. Just select the texts and just click on here. You see now wherever I'm trying to bring the texts, you see this icon around the text, but if you bring it around the path, you see the icon changes. So just click right the texts that you want. So I just wrote something and looks like we need to change the color. Now. We could rotate the text around that. And let's make it just like so, so that it's a half circle. This is the first one. Information. I just change the font to something like so. You can search to find your favorite font. But this is something that I'm dealing with. Now. In order to replicate the same thing, you need to select the text and now Control C and Control V to bring it again. And now I'm going to write other menus. E.g. let's hit T again. And let's bring that out and select everything. Name it menu items. I'm just going to make it just look like a half circle. So Menu and items, it's very good. And let's just place it in here and we can make it smaller. It doesn't matter because it's a black and white data. We do not need to have a lot of resolution, only something to work with. Okay? Now I'm going to Control C, Control V again. And let's just write jump. The next part, jump next. That is more like a half circle. Or let's do something like this, okay? Now it's more like a half circle. Now we need to add two more of those items. Let's just make this one a smaller and hold down Shift so that you keep the ratio, prevent the half circle from changing. Okay, now we have input and input volume, okay, control C, control V, and then just hit T so that you're able to write or click on it and input. It's good. Bring it somewhere in here. Control C, control V. Again. Now I'm going to name this one input volume. Okay? These are good. And they're going to be used for these ones. We have three in here and 4.5. So again, I'm going to save that as a PNG and just drag it in here so that we can use it. So make it alpha and on the same. Okay, Now we're ready to start the text. Let's see where we are. We need to write this on the yellow part of the object. So this is the yellow part. And now after this one, I'm going to add one thing. Let's name it text. And then just right-click, add a black mask. And now we're going to paste that in on the stencil tool. Just bring that and bring it in the stencil tool. Just like always, bring that in place until you're happy with it. Now, let's see where we are painting that text. I'm not going to paint on the mask, mask directly. I'm going to add a paint so that we can control that, turn it on and off, or do whatever changes that we want to it. So this is going to be menu items. Hit S and middle mouse click, and then try to rotate by holding down my mouse. And then S and middle mouse click to bring that in here. And mouse zoom out to make it a bit bigger. Like so. Let's make it a bit more distance to it. So definitely we need to add more resolution to that. So let's zoom out a bit on the object itself as to zoom it out. And now try to paint the text. This blurriness that you see is because of the low amount of resolution that we have. The object itself. So now let's go change the color to something darker. Menu and items. Let's make that a bit darker. Actually, I'm not seeing anything so we can go and try to do something that's good for a distance view because we have low resolution in here. Let's see what we could do about it. We have the menu Aniston. So in here, Let's go again. I'll try to remove the text and bring that again. Go in. And I'm going to make the text a little bit bigger, like so, make it white. And in here we need to delete that. So let's try to take a look at it. This is now having more resolution. Now, let's go do something for these ones. Let's bring another one. Hit S and middle mouse click and make this one information while holding down S. Just try to rotate using the left-click drag and hold down shift, like so. Then now hold S, middle click to bring that in place. Again, us to zoom in and out. And maybe a bit of rotation will do on this one. So now it acts to make it white so that we're able to paint on it. And inflammation. Let's take a look. Nobody's ever going to zoom that so far. So now let's write the jumped next to here. Just zoom on the object and try to paste this text. Now, let's try to zoom a bit from far away. Try to take a look from here. Looks like we can do some changes on this text. This one will do if it's curved and round. And let's go make these ones on curved and make them straight text. So for now, let's remove the stencil and hit X so that we're able to remove these out. I'm happy with this one. We could bring some straight text. So we're in here. Let's take the information deleted and then jump to next as well, delete. And we're going to use a regular text for those parts. So just hit information in here. Or we could make the text a bit shorter because that one is a small object, info. And then control C, control V. Make this one. Jump. Okay, we got it. Let's do something. I'm gonna rewrite on the same file that we have. So this is it and just select the alpha that you have and save it. There's another thing that you need to do in here, right-click and reload. Now see the text has changed without needing to enter another file. Now, drag this one in. It looks like we need to drag that out and start to change it. Okay, info that is going to be pasted in here. Let's make that whites info. Let's make it a bit smaller. Like so. Just try to remove that. Just remove the stencil and try to paint, remove the mask. And then we apply the tensile so that you're able to work with it. So Info, then jump. Now let's take a look at it. And it's a good one. Although we are using a 2k a texture on all of this, it's going to look very good. Although we have optimized a lot of things on that. So now let's go bring that. We're going to apply the input in here. Just try to rotate. You can either rotate the object itself or rotate the stencil. Like so. Input. Then this one is going to be input volume. So let's bring this one in the center. Hold down S, middle click, drag, and right-click to zoom in and out. And just zoom out a bit. So make a bit of room for that. So let's go the other way. Looks like this way we're able to. So let's do something. I'm going to remove this input and then write that input volume in here. So S, right-click, drag down to bring that as middle click to bring that. And now we need to move the object. Okay, just place it. And now this is a lot better input volume. Now the input itself is going to be placed right in here. No problem with it. Okay, now, let's take a look at them. And you see we have added these small details and even add more details. I'm going to add some details to the texts themselves as well. So now this time we need to go to the buttons folder. These are and let's add a layer. And let's call this one top buttons, text, or alpha, or whatever you want. Now, I'm going to add a black mask. Now let's go find something in here that looks interesting to be located in here. So now we have applied that to the remover or eraser. We do not want it. So let's go back in here. Remove the stencil. Now just click on that. Although there's not a lot of resolution, but it's doing something great in there. Okay, That will do because these are details that are getting visited from far away. And let's bring this applied to the jump. No, this isn't good. Let's bring this one instead. And just scroll through these to see which one you can use. So now let's apply this area. Okay, It's good. Now let's go change the color to something else. Of course, let's first add a bit of height. Like so. You do not want to make it that much. But you see how a lot of details these ad. Now this one, let's make it a color that looks like this one. Node. And let's not actually do that. Let's pick up from this orange that we have. So if you want to pick from that, just hit C to go in the base color and tried to sample a real color from here. Because if you go in the material and pick a color from here that is going to be very different to the actual values that it has easy now this is the color. And if you pick the color that we took from there is more likely just like the previous one, just like the real one, because the color that you sample from the viewport with the lighting is going to be affected by the lighting. Okay, now, let's take a look at it. It's very good. And it's following the same color pattern that we have there. Okay, now, let's apply something in here. Just look through these to see which one of them you're going to use. Looks like this one is a good one. Let's go take it. Okay. Now this looks more like a volume or something like that. If you think that way. Okay, I'll just quickly look at the references. And I found out that for making this one more like a volume controller, it would be a good idea if you go and try to color these inset areas. Now let's take a look at the reference to see what I'm talking about. You see The make it more obvious. If we give these different color, it would be better idea actually. So that is going to be so easy. We're already in the mask. Let's add paint. And now I'm only going to paint the same orange color in these inset areas. Just like so. We're able to paint these areas in because we have already masked a lot of the parts. There's not actually any problem around bleeding the color into other pieces. Just take something and hold down shift. And if you want. Control with it to make sure that it snaps perfectly up and down or to the degree that you want. Because this is using the same color scheme that we're using. The use the black, yellow, and orange to color this one. It's going to be very good or composition of the piece. Okay? Now, let's take a look at it. And you see now this looks a lot more like a volume controller. Let's do something. If I go in this yellow folder in here, and let's see the height change folder, okay, these ones. Let's extend that again. I'm going to add another paint. Let's do some more radical paint on this one. Because I want to see more depth to be fake in here. So let's take a look at it. It looks like we're painting on this area which we do not want. So let's see. We could go hit F1 to go to this area, exactly. Android to paint on this area instead. Let's make it a bit more. Okay, it looks like we need to go to this paint and try to paint from there. Okay, now let's try to make that a bit bigger and try to stamp a bigger one instead. Now, it looks to have a lot more depth. We can go in here and try to extend these areas. Let's just try to stamp one piece. In terms of height. It's actually a very good height. One for this 1.1 final for this one. Now it looks like this one needs to be a bit smaller. Like so. Now we can hit F2 to go to 3D view and start to visualize the result that we have done here. Okay, Let's take a look around to see what we can add. It looks like we can go and try to add some text in here, e.g. this is a knob and that is controlling something. It's good idea to add some text in here and some texts in this area for this one as well. I'm going to take a look at the references and you see that there are some texts in here that we can use. Of course, you can use any text that you want. It's gonna be so easy. And then we're gonna go into Photoshop and try to make some of these texts inside Photoshop. Okay, We're still here. Now let's write a program check and minus tracking plus. And that is going to be so easy. That is very self-explanatory. So let's just select this text. And I'm not going to change the original file, I'm just going to paste some of them in here. So minus tracking, plus this is one of them. Let's drag it in here. And we do not need a lot of resolution because that is a black and white text and it's going to be used as a mask. So not a lot of resolution needed, although you can bump up the resolution if you want, you can increase the scale if you want to. But I do not think that it's needed. So let's name this one. Program. Check. Okay, now I'm going to save this one again as a PNG on the same file so that I can import that inside Substance Painter with only one click. So here we go. I'm going to re-exported on the same file. Now that is going to be an easy fix. Let's go find it. I believe that it should be in Alpha folder. Okay, it's here, right-click and reload. And now you see it has been changed. So let's go to the main folder which host these elements. This is it. Now I'm going to add a new layer, fill layer and just call it random text. Right-click, add a black mask so that we can use the pencil tool to print the text in here. So again, I'm going to add a paint. Let's go to Properties in here and drag this tensile as a stencil in here. And you already know that we can hold down S while rotating this with left-click drag. While holding down Alt and middle mouse click, I'm able to pan. And while holding down S and right mouse click, I'm able to zoom in and out, like so. Drag that down. Just a bit of planning. And now I can print the text in here so easily. There are some glitches in here. Let's remove that. They can easily hit X to go into negative mode and try to remove that. Okay, this is it. Of course, it looks like the text is upside down, so let's Control Z couple of times to go back. And then I'm going to bring that back. It looks like if we go this way, it would be a lot better. Let's just rotate that. We could either rotate the object or rotate the stencils or it looks like here by rotating distance. So we're able to take the result that we want. And you can zoom in and out. Like so. You need to hit X to be able to print that text in tracking. And this piece in here needs to be deleted. So let's delete your stencil and it looks like the alpha needs to be that shape. This is the shape. And let's go remove this piece in here. Okay? So not liking this one actually. So Control Z. Let's just remove it and add this tensile again. And I'm going to do the reversed again. So hold down S. Just try to bring that in here. A bit of zoom out, maybe on the object or on the pencil, doesn't matter. Okay, Now, it's good. Let's print that. This piece in here needs to be deleted. So let's delete. First, remove this tensile and try to delete that. Okay, this is good now, no, I'm not liking that again. So now in Photoshop I'm going to delete this one as well as this because these are on our borders. I want them to be something like n side. You see I want to cover this area instead. So let's just write some simple text. I want that to be the same thing. So minus tracking, then plus add a distance and I want the scale to be a bit smaller. Now, just click in here to activate the transformations. And now let's use this free translation. And now there's a bend option that we could use. This one either. Let's go this way instead. Let's make it negative 90, like so and change the mode. I believe arc should be the way to go. So arc but negative. So negative 90. No, that is too much. You can use this slider to change it. Okay, It's good for now. Let's try to test it and Control C and Control V. Again, add program, check. Now this should be good as well. So let's again rewrite that on the same file. And then in here, just right-click and re-import. So now let's remove that, remove everything that we have printed so far. And again, drag this one into this tensile and then try to rotate. Now, I believe this is going to follow the curvature correctly. Now this is a better result. And I'm going to keep this one. Let's take a look at it. Tracking. And now in here we need to print out program check. Okay, so easy. Now let's go change the material response for that. Let's see how the color is going to be, how the roughness, metallic height if we want to. So first let's go for color. And this really obvious, yellow isn't what we need. Let's go for something that is lesser of that tone and more like the background piece. And this is good. So now let's bring the metallic if we want the text to be metallic or not. Okay, it looks like the metallic is going to be good for text. See now it's blending a lot better with the background pieces. Let's disable that for now and height. If we try to carve that n, that is going to be a lot better. Okay? It looks like now it has a normal response as well. It's changing the normal of the piece. And let's change the blending mode for the base color instead of normal. Let's set that to multiply again. Now it's making that darker. Let's take a look at it. Now. In order to bring some of that color back, we need to make the color brighter. Now, this is not good. Let's go see about overlay. Okay? Overlay is better and it's blending with the background colors as well. You can hit C to go in here and see that it's not only a white color, it's getting the background color and trying to lighten that based on the mask. It's not only a simple monotone color. And the material response is good as well. Okay, Now it's enough for this lesson. In the next one will go and add more details and gradually move on about finishing this piece. Okay, See you there. 45. Radio Texture Finalized: Okay, everybody. Now, we're reaching actually to the final stages of texturing this radio. Now we're ready to add those mesh maps and those are smart masks and generators were really take this one to a next level. For now, for what we have been doing so far, we have been adding general details in here only to specify the material responds, to see how they look and to define primary response. And after this one, we're going to take the geometry in place, e.g. something that happens in nature. A lot of the times the edge gets exposed to the weather condition to add some weathering effect on the edges or dust collect in these areas that you see, e.g. in these transition areas that dust will collect, make that refer or in these occluded areas, a lot of dirt, dust and grime collects. Or on surveys we will have some dust and these are going to be used to take this mesh to a new level. And we're going to use a smart masks with maybe some generators to do that. Let's explain what it does. So now let's say that we're going to add some dust in the areas that we have. The most ambient occlusion, e.g. in these areas that you see, we have a lot of ambient occlusion. How I'm saying that we have a lot of ambient occlusion and that is based on a bait mesh maps that we have. So if you go and see the mesh maps, you see this is normal that we have baked. If you hit B again, this is the world space normal. This is id, and this is ambient occlusion and these darker areas are places, then naturally the dust will collect because they are beneath the surface. There is a separation between the surface in here and the surface. And this is where the dust and grime collects, and this is what we're going to do now. We're going to use this mesh maps by utilizing these are smart masks to collect dust and grime an edge where to where we want. This is curvature. This is perfect for separating the edges. And normally, generally you see that the edges have been highlighted in here. We're going to use this one to highlight some of the edges to make the composition a stronger. We have a position and thickness as well as height and bends normals there. So now we have a fill layer, and now let's say that we're going to collect or collect some dirt in this cavity areas. So now let's add a cavity reversed. And you see already it tries to highlight these edges. Now, this is too strong. You see now the effect is very, very strong. But we do not want to make that like this first, let's go for color. And instead of normal e.g. we can go for overlay so that it blends with the layers beneath it. Now let's check that before and after in these areas. So with this color, we're not able to see that very much using Overlay. Now you see we get some discoloration in here and we can go e.g. at a roughness and bring the roughness up as well. And it's in these areas now, we have some dust collecting. Looks like there have been some storytelling there. Let me check that before and after to see what happens, e.g. Let's see this area e.g. you see now it tries to collect the dust in these crevices, areas which will naturally occur, then this is what we're going to do now. And I'm sure that this is going to look like day and night before and after adding these maps. So I'm going to create a separate folder for them and call them mesh masks. And I'm going to set this layer blending mode to pass through. And you see that now it has a screenshot of all of the layers beneath it combined. And when you take a look at the thumbnail, now let's go to texture view. And you see now this is the same thing. If we go to this view, you see now this is basically the same thing but reversed, something like this. Now what it does is basically takes a screenshot of all of these and everything that we do on this layer, on this folder is going to be then applied to all of the folders, no matter what. So now we have done that on the base color. Let's go for metallic. Set this one to pass through on the roughness that to pass through or normal. Let's set it to the same thing or heights. Okay? It's good for base color and mainly roughness will do. So. Now, let's go back. Now the only thing that I'm going to add for now is a sharpened effect to make everything sharper. So I'm going to add a paint layer. And this paint layer as well is going to be set to pass through on the color. So right-click, add a filter, and this filter, I'm going to add a sharpen. And you see now because this is passed through, it's going to affect all of the layers beneath it. And the sharpen will really sharpen everything up. Primary color. Now let's drag the slider down only to make that a bit sharper. Okay, now you see everything is more lively and looks like having more details. This is before, this is after you see. It really tries to add a lot of details there, but this is too much. Let's go and add just on lipid. A lot of Sharpen, we'll produce a lot of noise. So now let's call this layer. Now we're ready to move on and add the smart masks in. So just add a fill layer. And now we're going to apply the smart masks on it. Okay, now let's apply a cavity or testing. And you see it tries to highlight the cavity areas, the areas where we have ambient occlusion in place with a little bit of surface breakup. Now, the thing that you need to do to manipulate this one of them is going into the mask editor in here. And we have a lot of parameters in here, e.g. we have the patterns to see how much or how strong or how weak we want this one to be two, the effect to be overall if we want a lot of contrast or if we want to minimize the contrast. If we want to add a texture to this, and the texture is going to be e.g. we can make it try planar. We can add details to it. We can bring in the ambient occlusion in place or not. If you want to have ambient occlusion, yes or no. If you want to have curvature. And we have talked about where ambient occlusion and curvature R. And this is basically, this is how you control the placement of dust. So now let's go to global balance. Bring it up like so. And bring the contrast down. If you add a lot of contrast, you will get some pixelated effects. So bring the contrast down, but not so much so that it extends too much. Now, let's go for color. Only have color. Set it to multiply because the dust will always try to darken the effect, darken the color before and after. And now let's add a roughness. And normally the cavity areas where the dust collect is going to be so rough, It's not going to have a lot of light shining back to us to do that. A lot of Microsoft phase details that we have here. So if I make it a smooth, it's not gonna be so natural DC. Let's go to roughness, Tennessee. This is the cavity area. It's normally going to be rougher than the most of the neighboring pieces. Okay, let's add a bit of more roughness. You see, now we have some dirt collecting in such areas with some darkening effect. And sliders are in here as well. We can have the color to be there or bring it up using this slider. We can go to roughness and e.g. by bringing the roughness down. Like so, you can see that we are totally disabling the roughness or bringing that up. But you need to go to the respective channel and try to change it. Okay, now let's add another layer. Let's go for color only. And let's use another one. And just take a look at the mask. Now, this is too much, this is definitely too much. We have a mask builder in here. Let's go bring the level down. Okay, something like this, and go to material view. And definitely I do not want this one to be lightened one. So let's go in here to color and bring that to make it darker. Before and after you see it takes place. And let's bring the metallic and make the metallic and non-metallic. Let's go bring the metallic for this one as well, because we do not want that to be metallic. Go up in here. And let's try to make that darker. Then again, bring the roughness and we want that to be rough. And you can test out different one of these to see which one works better. So let's add another layer. And this time try to use this one. No, this is too much. This isn't good as well. This is some overall dirt that we do not want. This is highlighting some of those sharp cavities that we have already covered. But let's see if we can go and try to set the color to multiply. Let's bring that down. Let's see if we can change it to a different color and try to bring the color down. We do not want that to be so strong. Only some bits to add some dirt in here. So the metallic is going to be not present. And let's make it make that roof. And a normal heights. And MS, if we do not want them deactivate them to save some performance. Okay, let's go see if we could add some edge damage in here as well. So let's add a fill layer and go to one of these edge. Now, this is too strong. This is definitely too strong. We need to go to the mask editor and bring the global balance down just a bit. And now we need to go to color and set that to something like overlay. Now we have some edge breakup as well. Let's see. We say, you see on these edge areas that we have on this sharp edges, it tries to inject a different color to highlight some of these edges. And this is one of the important generators that you can use. And you can go try to manually paint out some of these areas so that it's not taking the whole place. E.g. these areas, we do not need to have a lot of the masking. It really isn't working that well. But before that, let's go and try to make the material response color is okay. Then let's make that a bit rougher. Like so. Just try to take a look at it from here. Let's go bring the color down. It's too much. Or let's go change the color in here. Then we can go and bring the global balance down because this is too much. Just a bit. And bring the contrast down. Let's add a bit of lesser roughness value to highlight some of these edges. We want some edge highlights to be present. And take a look. All of the sides. And there might be some need to manually painting some of these details. So let's go in. And after this one, I'm going to add a page. And using this paint, a few paint full white. You're painting with full opacity. And if you go black, you're removing from that, then I'm not going to use this boring alpha. Let's go to these brushes. Then use some brushes that has some kind of orange to it. E.g. Something like this one. Or let's see if we have a third. Let's use this one instead. Now you see it has some kind of a pattern to it. Let's try to mask out some of these parts. Okay, if we go to mask as well, you can see that now we're removing some of those parts. Let's go to the paint. And you see now we are removing some of that mask manually. Let's just try to mask some of these parts out because we do not want that to be so strong in here. This is manually painting some details or removing some details if you want to make the texture look a lot better. But this is going to be a bit time-consuming, but the result is going to be worth it. Because I do not want to over detail a lot of these areas. Now. I do not want this to be affected by changes that we add. So let's go take it, take the lamp and bring it up top of the grunge folder so that you do not get any grime on that. And now I'm going to add some specific details that is center part in here. And I do not want to affect the whole place. So let's go in the materials and drag material. Or for now, let's go in the main folder. It's in here. Let's for now at paint layer to see what happens. Now. This is metallic and I'm going to add some scratches to that metallic parts that we have. And I want them to only be affecting the surface area, not really close to the edges. So let's add a sand. Okay. Now this is in good. Let's go for something else. Let's use this occlusion. Now. This isn't good as well. Looks like the sand is the best of them or the surface. No. Let's use the sand. And then I'm going to make the color really darker. I do not want that. Now, in order to unify that better, we need to change the color. Let's set it to overlay, to blend better with the elements in here. Now, I'm going to go into mask editor and increase the global balance. Okay, now the color is too much actually. Let's go and bring the amount down. So when you set it to overlay, you can use the slider to bring that down or bring that up. This is good for a starter piece and it's really adding a lot of surface damage to the surface. So let's go and bring the global balance down. I do not want that to be so much, okay, something like this would do. Now let's add a fill and I'm going to add a procedural to blend with this. Let's go to textures. Let's go for something like Scratch or whatever you call, it. Looks like this grungy scratches is a good one. So now the scale is too much so we need to solve. Let's set the mode to try planar and increase the tiling, e.g. to body. Okay, Now this is too much. But now I'm going to set the mode to multiply so that whenever we have dirt around here, that is going to be taken into effect. Now, this is multiply, but we need to bring this strength down because that is taking too much of that information away. This is it. Now. This is before, this is after. So let's bring that up even more and try to bring the tiling down so that we see more of those scratches. So let's go for 20. Okay? Now you see we have added a lot of scratches the surface and add some surface break-up, especially around these cavity areas. On this one. Let's go back in here. Then everything gets applied and displays as well. Okay, let's zoom out to see what else we can do. This yellow area could use a lot of more surface breakup. So let's go in here, add a fill layer, and I'm gonna go select the Smart mask to add some dirt in here, some random dirt. So let's see how about this one. Okay, this is good. Let's check before and after. I'm happy with it, but this is way, way too much. And first you need to go set the color to multiply and bring this slider down, because that is too much. So. Bring this slider down because I want only some surveys breakups not too much before and after really settled. Then disable the MSC height and normal and bring the roughness up a bit because these areas are so rough. So now let's see something out. This one. I really do not like the colors that we have injected in here. So let's go to those masks to see which one of them is responsible for that. And we're going to paint that out. I feel like that is more natural without it. So go to paint, add another paint and make it black. Let's use a lot of opacity. And I'm going to paint out some of these areas from here. This looks a lot more natural to me without having those details in there. Now, let's do something to see if we could add some white details to the yellow part as well. So let's go to the yellow folder. And here I'm only going to use the height channel. And in the height. Let's go add a black mask in here, add a fill. Now we can use some of the black and white spots in here. You see now this is the mask. It's going to add a lot of fine grain to the geometry. So let's drag that down. Now. This is too much and it looks an industrial machine or something. So let's go to UV projection study to try planar. And we need to bump up the tiling so much. Okay? Let's go for something like this. But we can go and try to decrease the tile into a very, very low number to a point that it's not visible at all. Okay, Let's check before and after a want very, very subtle changes. Okay? Let's see, before and after. Not so much of a change. So let's go a bit more. Okay. Now, looks like it's a good idea, but let's go in the height and bring the slider down to limit that even more. I want some very, very small and tiny height changes. Let's do something. Let's go in here to see which one of them is changing the roughness in these areas. I want to limit database. So this is it, this is the mask. Let's go in here. After this one, I'm going to add a paint and manually try to remove some of that paint because that was really destroying the filling, a naturalness of this one. Okay, Now that I'm taking a look at this, I'm really happy with the final result that we have taken with this. Of course, you can go and try to add more details to this if you want to. But I feel like it's not that necessary to add so much detail. And let's take this folder and check that before and after to see what changes we have made to the composition of the piece. So let's disable that. This is before, this is after you see. It's really adding a lot of surface breakup, a lot of cool details in here. Now this piece has finally been finished. I'm going to stop this lesson now. And in the next one, we're gonna go to the headphone piece. Okay, this is going to be the same process all over. And then when we finished the headphones, we will come back to the radio to see if there's something that we need to change with some fresh eyes. Let's this one to rest for awhile. And now we're gonna go to work on this headphone. And we're going to use the same techniques to achieve a better result. Okay, See you on the next one. 46. Headphones Primary Details: Okay, everybody. Now we can call this one finished. Of course for now, later on, we will return back with some fresh eyes to decide what we're going to do now. So we're going to give this one a little bit of rest and focus on the headphone piece. One thing that I did, I went this generator, this mask that we had. Let's find it. This is it. I just went ahead and because this is overlay or wanted to exaggerate database more, the color was something like this abroad, color up to something like this to be more visible of what is going on there. This was the only change that I did before recording this one. So now I'm going to collapse this and move on to the headphone piece. Okay, now the workflow is going to be the same. We're going to add a layer on top of layer until we're happy with it. Of course, never, ever. There's an Stop. How much detail we can add to a piece while we're texturing that. So this is a tutorial and we have a limited amount of time. So we need to put a stop on somewhere, but there's no limitation on how far you can go and adding a special details. Now that workflow is going to be the same, we're going to add layers on top of layers, and we will go progressively on all of them. E.g. we add ten per cent of detail on this one. Move on other piece at ten per center and never, ever finished one piece and go to another. Because as I said, this is already demotivation. And always try to progress them one-by-one together. Okay, now let's start. The first thing. I'm going to do, what we did on the previous one on these buttons. I'm going to drag the steel rust material and change the color to something like orange, which we have already. Now, let's click in here and there's a code, just control C to copy that. And then while having this fill layer selected, select the steel rust and that will automatically be placed on that. Okay, Now I'm going to select the color and paste the same color in here. So we have that color but with some metallic details and a little bit of rust and dirt. Okay, This is for starters, and I'm going to start with the most important piece, which are these here for earphones. Let's just take a look at the references. And these are the colors that we are going for. The main color is this one something bit bluish with black, some orange, and maybe some yellow, which we have already set up. So now let's start to work and let's find the main folder which is here. Okay? Now we're gonna start with this one, and I'm thinking about making this one is still rust as well. To see what it does, It's perfectly a good one. So now let's do something. I'm going to take the color code in here and now replace the steel was with that, and then apply the color-coding here. Now I feel like this is a lot better than what we had previously. The previous one was really something like plastic and I didn't like that too much. We had this one, so with a little bit of color change. So let's change the color. So we had something like this and I didn't like it. Okay, let's stick to the new plan and we're gonna go with this one. And because this is a bit similar to what we have here already, let's see. We can go and try to bump up the saturation of the color a bit, or bump up the value, because now this is too dark. Let's bump it up a bit. Now I feel like it's a lot better and exactly moving according to the plan. So now let's go deal with the base material in here. Let's add a bit of color noisiness because it adds the illusion that this one has some level of details. But be careful if you add too much noisiness later on at a sharpen, it will create more noise in these areas. I'm bringing the imperfection now, colored noise, I'm bringing that down so that later on we will add a sharpened. So let's do that first. Let's call this one mesh maps. Okay? Now let's set the folder to pass through. And I'm going to create a layer. This is going to be a paint layer, new fill layer. Just call it sharp and make this one pass through as well, so that it takes a screenshot from layers. Below. And then right-click, add a filter. And we're going to go for sharpen. Now because we have added a lot of noise there. We are seeing some noise in here. So I'm going to bring that down to have only some levels of noise in here. This sharp and we're really produce sharp results, which I'm actually happy with. So now let's go to the layer that we had, which is this one. And just remember that this is not a finalized layer. We will add a lot of details to that. So let's bring the color noisiness down. This already produces some amount of noise when adding the sharpen. So let's bring the noise up. But not that much imperfection. I do not want it at all. Let's bring them down. Dirt intensity Let's bring that up because we want small level of dirt in there and I do not want that to be contrast the third scale, Let's tie that a bit. Later on. We will tie that using the default feature in here, projection. Rust intensity. This was what was causing those issues. Okay. You see now, when I bring the rusty see here that I do not want. Okay, let's, for now, go in here. We have the UV projection. Let's try, try planar, like so. And we're going to set the toiling to be something like four so that it has more resolution to work with. Okay, now let's start layering details on top of the existing details to make this one finalized, it might take some lessons, but in the end we're gonna get a very good result. So now let's create a new layer. And you can go try to rename the layers if you want. But in order to save a bit of time, I'm going to skip the renaming process. It takes a bit of time, but I really encourage you to have the renaming already. So just right-click, add a black mask, and I'm going to add a fill. Let's go to textures. And I'm going to bring some noise to add some overall noise to the piece in here. So let's take this one and drag it in the grayscale. Okay, we have a good result in here. Let's go set it to try planar. And for the tiling, we're going to bring that up so that we get a high resolution results. Now, let's go do something for the color, for material response in general, we have the color. Let's set it to overlay. This overlay is very helpful. It's blending the colors and using the colors below to produce a new result. Now, let's take it and I'm going to bring that up to add some discoloration on the surface. We can hit C as well to go into the base color view and see what you're doing. Something like this is okay. Now let's add the metallic. And actually we do not want that to be metallic at all because the dirt is a metallic. So now let's go for roughness and again hitting C. And this is the roughness that we have. So let's bring the roughness up a bit. Add some surveys details in here. Now I feel like the color response is too strong. So while having the base color, I'm gonna go in here, and let's go into the base color. Let's do that. While having the base color. I'm going to drag this down to the point that we have a very subtle color response. And let's go for the roughness as well and bring that down so that it's not too rough. Now because we're going to add some details or actually remove some details from here. I'm gonna go in here after this grunge that we have added, I'm going to add a paint. This paint is going to include some negative is sculpting. Let's go to brush settings, and I'm going to just take a random noise ZBrush. So let's take this one and just try to randomly removed from these details. And you're actually removing from the mask. I do not want these to be so much detailed out. Let's pick something else or we can hold down control and drag the mouse left and right to control the opacity and control right-click left and right to control the strength and scale of the brush. Now, let's add some overall. And now I'm working on this earphone as well. And let's try to randomly remove some of that noise. Now that I'm taking a look at this empty space in here, I'm going to add that radial naming brand that we had on the radio. So let's take a look at it. And you saw that we made this ultimate radio with this logo, the name of the brand. So I'm going to do the same thing for that piece as well. So let's do that right away. I'm going to go into radio. And this one should be in the main folder because we are seeing that on this radio. So Let's go to main folder and just this one is, okay, I'm going to Control C radio and paste that in the headphone folder to have the same material response. I'm going to only pick the material and later on we will produce the text. Okay, let's go in here in the main folder and just paste that in here. So we're not seeing anything because we need to decide on the mask. So we have no mask. Let's go delete that mask and now we are ready to add a new one. So add a paint. Now you see when I'm painting, we're getting that material response alongside with high differentiation that we had so far. Now, let's go and remove the alpha to make the default one. And now I'm gonna go in here and pick up the alpha that we had. This is it. And now we are in orthographic view. Let's rotate that by 90 degrees. Exactly. Okay, now we're 91, Let's make it 90. Okay. Now let's resize the brush. You can hold down control and mouse will open down to re-scale the size of the brush. Now, this is not doing what we wanted. And that is because I feel like the jitter is on gender is the randomness that we have on the brush. Sometimes when you select a brush, that gender gets activated. So you need to bring the jitter down. Angle Jitter as well, position jitter as well. Now if I apply, you see now we get the same thing but without the changes. Okay? Now let's do something. I'm going to remove the alpha and bring this one as a stencil. And we have the ultimate radio logo in here. So hold down Alt and middle mouse click. Bring that in here and just try to paste this in. Now remove the stencil, and now we have the logo painted in there. Of course later on, we might add some texts, some random text in here to add some context. And why do we have that activated? Let's go and print the logo on somewhere else. Let's go print the text in here. So let's see where the folder is. This is the secondary folder. Now I'm going to take this control C, bring that to secondary folder. Now, I'm going to take this paint, remove it and add paint. Select this one, make it a bit smaller and apply. Okay, Perfect. Now, try this one. In this tensile. No, not here. Understand, so I'm going to re-scale to see what we get. Okay, just zoom in to make a bit of space for it. Ultimate radio logo. One in here. Let's go do one in here as well. Bring this stamp and bring this tensile and print the text. Okay, done later on, if we need it, that we will bring that back. And actually I'm happy with it. That's a small detail that we add it there. Okay, now, let's go add more details to the main piece. Now we're here. This is the text that we added. I do not want the text to be affected by the dirt that we add. So now that we're talking about the text, Let's go create some random texts and bring that and printed here. Okay. Now I made a random text and you already know how to make texts. So I didn't bother you with the recreation of a new one. Okay, let's add it to this one. And now I'm going to bring that in the stencil to start to paint with it. Okay. Now let's add or let's make it a smaller. Now, let's zoom in a bit or zoom out. And let's try to paint. This one already, creates a good effect. It looks like there's texts printed in here, and I'm happy with it. Let's go for Alpha. And now I'm going to try to paint. Let's remove it. Okay. Now you see there's some texts printed in there. And it was actually a good idea to add some small elements there. Okay. I just wanted to look, doesn't matter what is written there. Okay. Let's move on to other pieces and start adding more detail. But I'm going to start with this yellow piece. So let's go find the folder. This is it. And let's add a fill layer. Right-click, add a black mask. And then we're gonna bring in a film to bring in a procedural to add some variation. So let's, let's choose this one. Okay? Now we need a lot of swelling e.g. let's set it to four. And I'm going to set the color to multiply because I want to make that darker bit. Okay, Now color, Let's bring that down. Something like this. Now added a bit of details on those, like dirt has been collected there. And now let's add the roughness. And I want to make that refer a bit because the dirt is normally rougher than the rest of the surfaces. Now we have some elements in here that we can go and try to add more depth in. So again, let's go to the radio folder. I'm going to find that and bring it here and start to paint with it. So this is the radio folder. It's in here. So it's in the main folder. So let's find it. This is it. Okay, I'm going to take it and go to the headphone folder and try to paste it there. So it's gonna be in the main folder. This is the main and pasted. Now, paint is going to be removed and now add a paint, but I'm going to bring that beneath the levels so that the paint is already taken effect. Okay, now let's try to make the brush size like so. Okay, It's good. Let's see that without it looks like we need to change the level in here. So let's bring the whites down, okay, to add only a level of depth, not that much. Now we need to go around and start to apply the paint everywhere. It's gonna take a while, but the results later on is going to be worth it. Maybe some more of these. Okay, and I believe that we're finished with it with this earphone. All of them are done. Now let's move on to this piece. Let's make the brush size is smaller. And just the stamp in this manual details will really try to help identify the realistic of the object. Adding procedurals is okay, but when you add the hand painted details, it's going to really be a lot better. And I believe that we're done with it. Now. This one is okay. Let's see about it. I'm happy with it. He can go change the color if you want. Okay. And now let's move on to the cushion pieces and add some details in here. So let's go find the folder. It should be in here. It's the liter folder. Now we have this plastic as the main color. And now we're gonna go add some procedurals to add some details to this. Of course, later on when we add the mesh maps and add in these crevices areas and occlusion areas. This one will really get finalized. But for now we need to stick to the procedurals, add a layer, black mask and then a fill so that we can bring in a procedural. Let's see about it. Try planar. And I'm going to make it something like four. Okay, it's good. I'm actually happy with it. Now, I'm going to go set this one to overlay. And the reason that is that we can go take it and add a bit of discoloration in the surface. We see now. That is very, very minimal, but yet adding interests to the object. Instead, this is what is happening with that. This is without it. This is with it. Okay? Small bits of changes but effective. And bring the roughness up a bit. And you can go for the height as well if you want. But this is going to make it really chaotic. You need to really care about adding those Hide Details. This is something like this is too much. So let's bring that up. And only a small bits of height. Okay, now let's go for another procedural. Add a layer. And we're going to add a black mask. And the fill. I'm going to take this as Example. I Control C and every time a Control V, I'm going to paste that in so that we have a preset and we're gonna be a lot faster with adding the layers so that we do not need to add the layer mask fill layer. Every time we have that copied and every time he want, we will return back to it and paste and try to work with it. Okay? Now, some small details. Let's go make that triplanar with tiling of five. Okay? Now I'm gonna do one thing and that is adding some more color. This. Now let's go see if I can change the color to something else that we would like to see. Let's change the color. Believed that a bluish color is a good one, and red is going to be good as well. Let's go with this. Not actually read but something to consider. Now let's add an overlay and bring it up until we see some of that color in the mix. Okay. Now let's go bring that down. Because that was too much exactly. So you can hit C to go in the base color view and see what you are doing exactly. Okay. Now, I'm happy with it. Let's take a look at this one as well. And it's okay. You know what? Let's right away try to add the curvature details to the cushion base because without them, this will really not look that good because we need to take all of these crevices, pieces, calculations so that this one gets finalized. Let's add a fill layer. And I'm going to add the cavity. You see now this is something that takes the mesh in calculations. Takes the mesh maps. Okay, let's go in here and I'm going to reduce that down a bit. Global balance down, something like this. Let's go in here and try to change the color to something. Okay. I feel like this one is a good color. Let's bring the roughness up as well. Add some surface variations. And let's take a look at this one as well. It's good. So now let's add a new one. This time. Let's go for some surface variations. This is very good. I'm happy with it the way that it is. Now we need to go and set that to overlay. And in order to bring that, some of that back, we need to go like this and bring full white. So that'd be seeing more of that in action. Okay, Let's see that this is with it, without it. This is now too much. Let's bring that down and bring the roughness up a bit and take a look at the roughness. And this is what is going on there. Very good. I'm happy with it. Hey, now take a look at this. When I'm taking a look at the references, I see that there's some pattern going on in here on this top piece, especially this one I really like it. And this one, you see that what is going on there? Let's do that. So now I'm going to add a fill layer, and let's go for procedurals. Here, the textures we have a lot of good parents to use, and they can be found in here. And let's check to see what do you need to add. The first thing is that I do not want the earphones to be calculated. So right-click, add a black mask, and then I'm going to add a paint. Let's go to polygon fill and make it white and only select this one. Object mode. Select this cell that we do not get the earphones in calculations. Now whatever we do is going to be affected by this. So now let's add a fill on this fill. Let's add this one. E.g. now it's taking the whole place. We do not want it. So let's set it to multiply so that it appears only on places that we have masked already. Okay, Now let's bring that soil up. And it's exactly something that we have seen on the reference is very like it. Now I'm actually happy with it. Okay? But one thing, let's bring some divisions and bring the tile down. Something like this. Now let's go in here and try to choose a color that matches the scheme that we are going for. So it looks like an orange color would do. Hit C to go to the real colors, not the colors that are getting affected by the lighting conditions. And try to pick up a color from here. And I'm happy with it. And now let's do some changes. Are really wanted to make these lines a bit thinner. So let's go in here. I want to limit the white. So we already know that by adding a level and by bringing up blacks were able to limit that. Then actually I'm very happy with this result. Let's go see if we can add a bit of height to it as well. Let's make it positive. So make it look like a pattern or something carved in this place. Okay, now this is too much. Let's go. For a very neutral Lord. Now that we have in place, we can try to this color some of that to convey the message that this one has been used a lot and a bit of discoloration has happened. So let's add a paint and I'm going to go for manual paints. And you see that when I paint white, I'm taking and when I paint with black, I'm removing from that. So now let's go pick noisy brush. Let's go for something like this. And try to randomly sculpt on some places. Okay, now let's go for the side and randomly sculpt on some places. Now, you see, now we have painted with full black that you see in here. If I go in here and try to bring this down, this will bring some of that back. And this is non-destructive. I can toggle this one off to bring everything back. I can use the full opacity. I can even go and try to remove a lot from it. Then I can bring the opacity down to bring some of that back. Okay, not that much. Something like this. Now, let's try two paint on some of those areas. Not that much. And you can bring the low of the brush as well. You can hold down control. Just take a look at this. Hold down Control. Left mouse. When you drag right, it becomes workflow. And if we drag down, it weakens the flow. Okay? Now you see if I start to drag, that is not as strong as it could be. Okay. And I'm feeling like We're getting good results in here. Now, let's go do something about this one, about this plastic piece that we have up top. Let's see where that belongs to. It's in here, it's in secondary folder. So let's add a fill layer, add a black mask. And I want that to happen only on this piece in here. So object mode and select this one only. I'm going to do the same thing like this one and add some details on top of this. So again, I'm going to add the fill. And this fill, we're going to bring in some of these panelists. I'm going for something like one of these panels. So let's add them and try to see what they do. Let's make it try planar. And it's going to have maybe ten styling. Let's set that to uv. Uv is a lot better. Now, I'm going to set that to multiply, to have it only on this piece. Now, let's go take care of the material response. I'm going to take the color from this one. Now you see it's exactly in place. Let's go add some height. Like so. Like there's a little bit of height going on in here. And let's do something. I'm going to go increase the tiling even more. Let's go for 20. Okay? Now, this is a lot better. But I'm not liking the effect that we're getting this piece in here. I do not want this to get included. So now let's again go in here at a paint and I'm going to exclude this one, the site from getting calculated. So let's go to polygon tool. And because this one is on a UV chunk, we can go for UV, make it black, and try to separate from that. And you can see that by removing that UV chunk because of the UV logic that we created in Blender. This is part of the same UV. Now we're able to go and try to have it only on this side. A bit of hyperbole sculpting for free. Let's go in here and see if we can try to bump up the color a bit more. First, let's go forward or roughness. Let's make that refer a bit. Let's see for metallic. Let's make it metallic. Let's go for this plastic as well. Make that metallic to see what is going on in here. Now, let's make that plastic instead of metallic. Okay, let's drag the metallic down for this one as well. Let's go for another color. Let's go bring in the value of the bit and take a look. I'm happy with what we're getting now. Just take a look at what we have done so far. And we're okay. Now we're going to print some text in here, just like what we have been doing so far. Let's go bring them and looks like we can use what we have already there, which is this one. So let's first start with this one. We need to go into the main folder because this one belongs to the earphone, which is in the main folder. Okay, Let's find it, and it's in here. Okay, this is it. Now let's add a fill layer. Right-click, add a black mask. And I'm going to bring in paint so that we can paint on it. And let's bring the output to the default one and try to plug this one. In Syria massive. And just zoom out. Okay, now, let's try to print text in here. Let's zoom in a bit. K, play. Now, let's rescale the text. I don't want that to be like so. Play. Pause and make sure they're on the same line. And this is gonna be stop. Let's add one from here. That is the info or jump or whatever. Let's print the info in here. We printed unnecessarily text and it can simply hit X and try to remove that. Okay, now, this is how far we have reached in this lesson, in the next one who will go and try to add more details to that. Okay. See you there. 47. Exporting To UE5: Okay everybody. Now we're only adding the details in here. So let's do something. I'm going to go into buttons folder and try to paint some icons on top of these buttons. So this is the buttons folder and this is z. So let's add a paint layer, add a black mask, excuse me, Fill layer, Not a paint layer. Add paint. And now I'm going to use these as icons. And size jitter, Angle Jitter, and position general needs to be disabled. And let's see about the rotation. Let's bring the flow up. The rotation needs to be disabled. Let's make that 90 degrees and try to paint k. And this one for pause. This one for stop. And maybe this one for info. I'm just thinking. Okay, Now that that's a real response. I want the color to be dark. Like so. I want them to have some height channel as well. It looks like there's something going on there. And now you see they are full white. And it means that the transition between black and white is nonexistent. So now, this is because we are seeing some of these jaggedness in here. So after this paint, I'm going to go add a filter. And this filter, we're going to add a double. Okay, this is it, but the Bible needs to go outside and look how the Bible does, is it creates a transition, but now the transition is going inward, so we need to make that go the other way. Like this. Now it reaches to the full extent and now it moves on. Like so. But now let's try to bring that back and a bit of smoothing. Like so. Now you see there's a good transition in there. And just take a look at what it was before adding the bevel and what it was after. So before, after, it really adds a lot of cool details to there. Okay, now let's add some text on these places, which should go to the main folder. Let's find it. We are in here. I'm going to paste that on the same layer. So let's see if we can add a bit of height to here. And let's go and copy the bevel in here. Okay, control C to copy that. And I'm going to bring that in here and paste it. Let's find it. It's in here. And we need to paste the effect in here. But it's too much. So smoothing, we do not want that much. Now it looks like it's not doing anything for this one. So we're gonna go with this. So now I'm going to add a new paint. This point, let's use the texts that we have here already. We do not need to print new text. Just, let's go with this one. Okay? Let's paste this one in here. Inputs volume. Make the brush size bigger. And input value. Because it has a good resolution. It's supporting one. So let's make this one menus and items like so. And this one is going to be input. So let's resize and bring that up. Inputs. Very good. Let's bring it striking in here. So now let's go to remove and try to remove some of these extra details that we've painted in here. Okay, very good. Now let's do something. I'm gonna go. And take the mesh maps from this radio. Okay, let's go to the mesh maps folder. I'm going to copy that. Let's bring that into the headphone. And I'm going to remove this and paste the new one. Now you see all of those dirt grime and whatever that we have painted there has been applied in here. So let's take a look at it before and after. This is before, this is after. You see now, this is really day and night. Then this one already includes the sharp sharpen that we had. And I'm not wasting a lot of time adding those details. Let's go take a look at the surface. And is every surface attribution that we have added there is present in here. And this was to save a bit of time because all of the logic that we used is the same. Let's bring the radio and try to take a look at them side-by-side. And I feel like this has been finished or at least for now. So let's hide the radio for now. It looks like there's a lot of empty space on these earphones. So let's go to the main folder, which is responsible for that ad or Payne's layer excuse me, fill layer. Mask and paint? No, not a paint. This time we're going to use a fill to use a procedural maybe to create some panelists, just like what we created in here. So let's paste this one in. Like so. And I'm going to add a lot of tiling. Let's add body. It's very good. But we need to go and set it to overlay. Like so. Take a look at it. It's too bright. And let's bring the metallic up. Or let's do something. Instead of using that in here, I'm going to copy mask. There should be a copy layers or copy mask. This is it. And go to the main layer, which is this one control C, control V. Make this one a bit darker. Like so. And now I'm going to paste mask. Just create a black mask and right-click. There should be. No, there isn't. So add a fill. This, make the tiling something like 40. And let's see about it. We can add a level to bring the white down or to bring the leg up. The limit that. Now I'm not actually liking this panel and let's go for something else. This wave, we can delete it, add a fill. Let's bring that in here. The level is going to be removed. Let's go pick something from these panels. Let's use this one instead. Tiling of 40. Now this isn't good. So let's bring this one in. And actually this one is good one. Let's take a look. Let's bring the body to 30. It's adding a lot of cool details that are visible from close up. Let's take a look. And it's in here where we have printed the text. We do not want that to happen. So after this one, I'm adding a paint. Let's try to remove from here because I want the text to be visible. Let's go for paint instead. Okay, like so. Now we can try to remove this part. Okay? And it's good. Okay, everybody, congratulations for finishing. Takes string modelling, hyperbolic creation, everything about this tutorial. Now if you want to export the textures and test stat inside, maybe unreal or Blender or whatever program that you have. You can go in here. The shortcut for that is Control Shift and E. Just assign a folder for it, which you can select in here. And the file type. It's always good to use PNG or target. Target is heavier, but PNG is a smaller. So let's go for P and G. Let's go for toga. And size of the texture because we're going to use that in games or whatever. You can go for two k. But if you want to have the maximum quality, of course, that might not be used in a game at all. You can go for, for k or two k if you want to use that in a game. And from the temples, one of the good ones that you can use is the Unreal Engine pact, which is this one. This is it. And it's going to pack for unreal engine. Of course, the normal map that ships with it is Direct X. So you need to have that in mind. Some of the programs support art x, some of them OpenGL. Now, let's hit Export. And these are the final result in textures that regard. This is the base color normal, and this is the mask texture that includes the ambient occlusion, roughness, and metallic all in the same channel in RG and B. And this is the radio, and this is the emissive of the radio. Normal and the channel packed. And you can import them in any game engine no matter what and try to use them. Now back at lender. And this is the low poly file. And we have triangulated that. I'm going to do one thing. Let's go Shift D to duplicate and create a folder and call it final. Okay, let's go find them. And they're all in here. Let's go hide any folder except for that that we're seeing. Now this is where we're going to combine the pieces together. Then I want the pivot to be exactly in the center of this one, in the center here. So I go in here, just select the pivot to here. And I'm going to go apply all of the modifiers, the triangulation modifiers, which they are. I'm going to let's apply all of them. Okay. There's something in here as well that we could do. There's something in here. Let's find it. I'm just selecting them to see if one of them as any modifiers. So now the pivot of this one, I want it to be in the center. So first, let's apply the modifiers on them. This is very important. I do not want to have the modifiers just Control a on the modifier. You have selected that applied. Okay, Now these ones, Let's select them. And we can go take them and try to apply the modifier on them. Whenever something had has this wrench, that means that it has a modifier. You can easily identify them and just save them or apply the modifiers. This one has the range. This one as well. Let's see, we have applied all of the modifiers. Now I'm going to select all of them, this one as the active object. And then I'm going to hit Control and J so that all of them are now part of the same piece. Now you want to hit Control all tangy to bring that in the center of the world. Now you want to go in here and make sure that all of the rotation and scale dimension, anything has been applied. So rotation, scale and location. But when you change the location of the pivot, returns back to the center of the world. Just have that in mind. Always do double locations reset when you have that in the center of the world. So let's drag this one out. Now, I'm going to select everything and this one as the active object Control J. And I'm going to bring the pivot to the center. Something like this. Or let's do something. Select these pieces in here and control or excuse me, Alton S, to bring the pivot in the center in here and bring that in the center of the world. Everything has been applied, soap on now to make sure apply them. Go to see if you have any face orientations to be wrong. No, everything is good. Now it's time to rename them. So this is going to be static mesh hundred score radio. And this is going to be static mesh underscore. Headphones. Okay, now let's see about the material. This has the headphone material and this has the radio material. Bring that in the center of the world. We're going to export them individually as FBX so that we can use them. So export as FBX in here, you want to make sure that you have selected the objects only and hit export FBX. Of course we need to correct the naming. So Export and make this Static Mesh underscore radial. And this one is going to be static mesh underscore headphones. Now, let's open up Unreal Engine in here. And this is a very simple scene. And I'm going to import them here. So let's create a new folder. I'll just call it radio, just for renaming and hit Import. And we're going to head over to the folder where all of these are present. Then in here you want to make sure that if you want to make it non-ideal mesh, you want to check night. But for these, because these are low poly, we're not going to import them as night. So import all. Let's check to see if there's any problem happening there. Now everything is okay. So this one as well. Let's go back. And now we have two materials imported. One headphone, one radio. Of course. If you want to make more complicated shader master material or anything you can do. But that is not the purpose of this course. So let's open up the radio material. Of course, this is not what I do on the projects that I do. I create master materials and everything. But for now, that is only for visualizing purposes. So now let's go for the radio pieces. This is radio emissive, normal. And the pack channels channel pipe texture. For the channel type texture that's open that up, these two. And if you are going to use them in Unreal Engine, you want to make sure that you set the compression setting to mask like so. And for the normals, if you open the normals as direct eggs, you're ready to go. But if you're normal has been imported using OpenGL, there's something that you need to do going to all advanced details. And there's a flip green channel in here that you want to check. This is it. Flip green channel. If you have important OpenGL, You want to flip the green channel here. But since these are Direct X, There's no problem with it. These are the thing that you need to do. So let's take this, plug it into the base color. This is going to be plugged in a massive. This is going to be plugged in the normal. And the first channel of this one is ambient occlusion. The second one is roughness. And the third one is the metallic. Okay. Hit Save and close and open up the headphone. Okay. These are no, not this one. We do not have a massive channel for the headphone. So let's plug in base color. This one is going to be the normal ambient occlusion, roughness and metallic Save. So now if you take the Static Mesh and drag it in the scene, you're going to see that whatever we have done in Substance Painter is present in here. Okay. This is a relatively small mesh. So we need to care where we're zooming. But it's the everything that we have done there has been present in here. And we're getting the same result from substance to Unreal Engine. And it means that color correction and everything that we have done is okay. Okay, now we can go and try to use this one or any project if you want to. So let's go re-scale them to five. Like self to see some of the details from close up and see everything that we have added in substance painter is present in here. And all of those details are here. So now this one is finished, and now we know how to import these inside a game engine and how to further use them. Of course, I'm going to share the final low poly file with the texture in the project files. You can go and try to test them for yourself. Okay, this is it. And I feel like it's time to say goodbye. 48. Thank you: Okay everybody, and this is the final video in this course. We have covered a lot of topics and this one, how to create boolean pieces, how to optimize them for a game engine. How to create low poly, poly, poly sculpt out to unwrap properly and to save some UV space, how to texture out to import in a game engine. And I feel like that this is an end to what we have done so far. Of course, the techniques are there and you can continue to invest in the techniques and use whatever you have learned in a project. Okay. It was a good time and I really enjoyed the process of making this tutorial and goodbye.