Blender 3 Motorcycle Creation

1. Course Overview: Hello and welcome to this course where we will be creating this classic motorcycle, a 1930s six Harley-Davidson knucklehead. Now throughout this course you will be learning about blenders, modeling tools, it's modifiers. You'll be learning tips and techniques to stay organized with complex projects like this. You'll be learning about UV mapping, materials, rendering, and even animating the camera. And in addition, since we're going to be using Substance Painter for our texturing, you'll learn how to prepare a project for export to Substance Painter. So here in Substance Painter will bring in the exported model. We'll bake our mesh maps and you'll learn all about paint layers and fill layers and layer masks, grunge maps, dirt maps, generators, et cetera. When we're all done with this, we will of course take it back into Blender, set up the lights, the background, create a camera, and render out multiple shots so that we can edit them together here in the video sequence editor. Now, all of the project files are included with this course. You'll have each blender scene file that is associated with each video that's been created. You'll have all the reference images, the HDR images, and you'll have all the keystrokes here in the corner for everything I do, you'll be able to see what I click, what keystrokes are used, et cetera. Now this is a pretty big course. There's a lot to it. But I began fairly slowly. And then as you pick up the modeling tools, the techniques, the logic behind blenders workflow. We begin to pick up the pace and by the end you'll be moving around in Blender and Substance Painter just like a pro. So I'm looking forward to getting started. I loved these kinds of big detailed projects. I hope you're ready as well. So in the next video, Let's jump right in and see how to prepare and bring in reference images here into Blender to help us start the modeling. 2. Reference Images and Scene Scale: The first thing let's do here is take a look at the reference images and also bring a few into the 3D view here so that we can get a better sense of what we're going to build. So first of all, I'm just going to hit the a key and select everything in the scene and hit delete. So we just begin with a fresh scene. Now I want to bring in some reference images so we can see them from any orthographic view. And what I mean by an orthographic view is, you can see here currently we're in user perspective as we tumble around here. But we can also hit the 13 or seven keys to go to orthographic views. So I'm gonna hit the one key on the number pad. Now we're in the front orthographic view. And if I hit the three key on the number pad, we're over here in the right orthographic view. And if I hit the seven key, we're in the top view. And we can always tumble back around here into perspective views. But I want to bring in some images for each of those orthographic views. Now, personally, as I'm creating something, I like to keep the positive x-axis here, you can see up here on my right. So I kind of always know that if I get back to this position, I kinda know what orientation I'm in. It's just a personal thing. It's not something that you have to do. But I would suggest, as you work, finding a way and an orientation that works for you. But for me, this kind of works well. So first of all, I'm going to hit the three key and that'll take me to the right orthographic view. And I'm now looking down the x-axis. This way. I'm looking down at it this way here. So I'm going to hit the three key. And what I want is the motorcycle to be facing this way, the front over here. So that means I want to bring in the left image. The way I have them labeled is as if you're sitting on the motorcycle. So if I'm sitting on the motorcycle on my left, I want that side here. So I'm going to press Shift a and go to Add Image, and I'll choose reference. So I'm going to click here. And now we're going to browse to the reference images folder. And in here I've got a couple of different collections of images. So one, I've got just some images that I found on the Internet. The other ones are from when I went to the Harley-Davidson museum, not too long ago. I took some pictures with both my DSLR camera and my iPhone. So you can see the images here where I use my camera. And then the images here where I used an iPhone and the iPhone is just really great for low-light photography. And here in the museum, it was pretty low light. The DSLR, because it was so light, I had to open up the aperture really wide, which gives you a very shallow depth of field. So it really wasn't the best for a couple of different kinds of images. But what I've done is I've gone into Photoshop and configured a couple of images to have a left side or right, a front and a back view that I want to bring into Blender 3D view. So as I said, this first image, I'm going to bring in the left side, and I'll click Load reference image and there it is. Now if I turn on the move manipulator here, I can grab it and bring it up. It's kinda hard to see where that green axis here is. If I tumble around, you can kinda see that here. And I can maybe take that and drag it up just a little bit. So it's kind of sitting on that green line, but it's kinda hard to see. So if I hit the three key again and I select that image, It's called empty here because it's just an empty object with an image in it. And I'll change this to left side. And down here on the properties of that image selected, I can turn on opacity. And when I do, you can see through it to that green line there, that y-axis and to the grid. So now I can move this up and down and get those tires kinda sitting on that green line. But how big is this? Is it properly sized for real-world scale? Well, seeing as one of these squares is 1 m, That's probably a little bit big. That's like four-and-a-half meters wide or something. So I think that's a little too big if we're going to get this in real-world scale. So what I can do is create a 3D object, say a cube, and get the dimensions of that cube. So it's exactly the length of the wheel base from one center of the wheel to the other. So I happen to know, having done a little Googling that, the wheel base of this particular motorcycle is 59.5 ". Now in Blender here, if we hit the End key on the keyboard, we can see our transform settings, x, y, and z. And we've got scale here, but we don't have dimensions because we're dealing with an empty object. What we need to do is create a 3D object. I'll press Shift a to bring up the Add menu again. Let's go to Mesh and cube. And now we have the dimensions of that cube. But they are in meters or the metric system, as opposed to Imperial in inches and feet. So what we can do is just come in here to the y-axis. You can see that the y-axis is here, and we can just type in 59.5 and double quotation marks 4 " and then hit Enter. And now that converts it automatically to 1.51 m. So the width of that wheelbase from here to here really needs to be this wide. Alright, so I'm going to scale this down. I'm gonna press S, Z, scale it down like this. Then I'm going to tumble around and scale it in the x-axis. I'm going to press S and scale in the x and bring that in quite a bit as well. So now we've got this piece here that is the exact wheel base of our motorcycle. Alright, so if we bring this up a bit in the z-axis and then I click on that image, the left side image here, I'll hit the S key. And let's start scaling this down until we get it to be about the right width for that wheelbase. So let's see, I'm going to bring this down a bit so it looks like it needs to come up a little bit more. I'm going to hit the S key again and scale up. I can also bring it over just a little bit in the y-axis. And that looks pretty good, like we're going from the center of one wheel to the center of the other, right there. So that is the size of the motorcycle in real-world scale. Alright, so we can take this down and put it on that y-axis right there. There we go. And I'm going to tumble around. And then I'm going to take that image and move it back in the x-axis here. So whenever we hit the three key, that's what we're going to see. We're going to see this right on the y-axis from the right orthographic view will be seeing the left side of the motorcycle. Alright, so this cube, I'm going to change to reference wheelbase. So I know what that is. And then I can hide it here in the outliner right there. Now we just need to bring in the others and get them to match the size or the scale of this as well. So in the next video, we'll begin bringing in the other images. 3. Setting Up the Reference Images: Now the next image we want to bring in, we're going to be viewing from the other side. So if we hit the three key, you can see we're in the right orthographic view. Now we're going to want to be able to see the other image we bring in from the left orthographic view. And to get to that, you press Control numpad three. So if I do that, problem is, is we can still see this, which means we aren't gonna be able to see the next one we bring in. So what we wanna do is only see this image from the front, but not from the back. So we can see to the other one. So if we select this and go over to our object data properties, we can change this here, this side setting. Currently we've got it to show both the back and the front here in the 3D view. But if I choose only front, now if we tumble around, look at that, we can see through that now. So if we press Control numpad three now, we can see through it and that's what we want. Okay, So now if I click out here in de-select it, I'll press Shift a image and choose reference once again. Now let's grab that other one. Let's take this one here, the right side. And let's bring this one in. There it is. And now we have to scale this down to get it to be the proper size. So over here in the outliner, Let's bring back that reference wheelbase object. There it is, right there. Now let's select this image, hit the S key, and begin scaling this down to get it. So it's the proper wheelbase for this one as well. So hit the S key and move it down a little bit more. Movement in the y axis. Scaled down a little more. There we go. So I think we've got that pretty well lined up there and we'll be able to see with the other one how well we did with the image still selected. I'm going to once again turn on opacity. So I can see through it to that y-axis green line there and bring the tires down to sit on that, They're okay. I'll hide the wheelbase object. Now let's tumble around and see what we've got. So if I select this now I can drag it back out like this. Now you can see we're gonna be able to model the motorcycle in here in the middle, while being able to see each of the sides. So if I hit the three key, we've got this one. And if I hit the Control three key, we've still got the same one, which means we have to set this one so we're only seeing it from the front, just like we did here. So come over to the side, click on front. Now we can't see this from the back, and we can't see this one from the back either. So now if I hit the three key, you can see this one here. And then press Control three. And you can see that one there. So three, control three. So we've got the two different sides of the motorcycle now in our 3D view. So we can use these as we work. Alright, we've got two of them in. Now let's get the front and the back. So for the front, we're gonna hit the one key for the front orthographic. And for the back we'll hit Control one for the back orthographic view. So let's begin with the one key. Let's bring in the front image. Shift a image and reference will select this one here. And we'll click Load reference image. Now, how are we going to figure out how big this should be without being able to see the wheelbase. Well, what we can do is use our images that we have in here currently to figure out how tall it should be. And then we'll use that object that tells us how tall it is to adjust this image here. So let's tumble around. And I'm going to pull this back a bit. And now if we go to one of the side views, either the right or the left, I'm going to press Shift a mesh cube. Now I'm going to scale this down and I want it to be just as tall as this is here. So to do that, I'm going to bring this down and put it right on that green line there, right on the y-axis, right? And then I'm going to tab into edit mode. I'll hit the Tab key. I'll hit the three key to go to face mode. And you can see up here we've got face select mode, edge select, and vertex select. And these can be accessed by pressing the 12 or three keys on the keyboard here, 12.3. So in face mode, I'll select this one face. Hit the three key again. I'm going to turn on that move manipulator right here. And then I'm just going to drag up till it's about the same height as that headlight. So maybe if I do that, I'm going to tab into edit mode and move it over just a bit in the y-axis. And then so I can see through it, I'll hit the Z key and choose wireframe. Here we go. So now you can see that's a little bit too tall. So I'll tab into edit mode and that base is still selected there. I'll just bring that down. So it's right at the top of that headlight. Now let's spin around to the other side and see if it's about the same. I'm going to press Control three. And you can see here we're a little bit off. Because if I bring this down to where that headlight is and then go back to the other side. You can see that's just a little bit off. And that's okay. This particular motorcycle could be just a different height. And that's okay. Because over here this curve is just above the handlebars. And over here, this curve of the headlight is just below the handlebars. So the actual location of the light, the heights of the handlebars may be slightly different from one specific motorcycle to the other. So I'm just going to leave this right about here. Not quite to the top, but not as far down as that other one. So maybe right about here. And then I'm going to select these different faces here and move this out to the end of this tire. And then I'll select this face over here and move this back to the very end of the vendor year. So that right there is about how big the motorcycle is. I'll tab back into object mode and then let's press Control three and spin around and see how we're doing here. So it looks like we might be able to actually scale this side up just a little bit and you'd see how it's not quite getting to this edge and not quite getting to this edge. So maybe we should just scale this up just a little bit. So this one is the one that's called empty right here. Let's change the name to right side. Then let's just hit the S key and scale it up just a little bit. So it approaches the size of that one that we just did. I'm going to take that i'm, I'm going to move it back and the y-axis just a smudge. There we go. So that's really a little more in line, I think. So Something like that, I think matches the other one pretty well. Alright, so now if we tumble around, we've got this cube in the center, this 3D object that's going to tell us how tall this image needs to be, right? So if we hit the three key, no, hit the one key. There we go. We hit the one key. Now we can see here's the box that we created. And now this image needs to be inside that box. Now this image is a little bit bright to see that box clearly. So I'm going to turn on opacity here. Then I'm going to take the opacity pretty far down. I'm going to just click and drag in here, drag the opacity down to say like around 0.25. I'll do that. Now we can take it and we can move it up or down. We can hit the S key and scale it down a bit. So maybe the size of that is around right in here. And this is not exactly taken from the front. This image isn't exactly from the front, but it's pretty good. It's not an exact orthographic view, but I think it will work. Okay, then maybe I'll take this image and move it over. So it's centered in the headlight here. Alright, so I think that's a pretty good size for that. If I tumble around, there it is. Now I can take these and reduce the opacity for these as well, 0.25. Select this one to five. Here we go. Then let's quickly just bring in the rear image as well. Let me select this one and I'll call this front. And we'll turn on just the front so we can see through the back there. And then I'll hit Control one. Here we are at the back. I'll press Shift a image reference. Let's bring in the back image here. And then we need to take the opacity, turn on Opacity, take it down to 0.25, then I need to scale it down. So it's within that box that we created here. So this is the one right here, right? Yeah, so let's call this reference height. So we'll select that new image right here. It's called empty and we'll rename it back. And then we can move this up or down and try and get this about the right size. So it looks like I need to scale it up just a bit and then move it over into the center, just a bit like this. There we go. Once again, these images aren't exactly in the front or the back and they're not exactly orthographic views. But I think they will still be able to help us as we work. So I will tumble around and let's take this one and move it back here. Or I should say up here. So it's a little confusing. I know because the back image is in the front and the front image is in the back. But we need to be able to see those through the motorcycle there. This one of course, we need to turn on only the front. There we go. So now we've got our images all the way around and we can place them in more specific positions and we'll do that in the next video. But that's how we get our reference images and our real-world scale set. So we can begin our modeling. 4. Beginning the Chassis of the Bike: Now, before we begin modeling, there's a little bit of clean up here I'd like to do. I just want to organize things a little bit better. First of all, I want to take these guides and I want to put them in a specific place. So if I hit the seven key on the number pad, I'd like to move these maybe out to here. So if I click this and drag it in the x-axis to about right here, you can see that we're at about negative two in the x-axis. So I'm just going to click in here and type in negative two, and that will pop it right at that point there. Now if I take this one, I can tell in two and that will move that out to here. I can also take this one here, that's the back. And I can move this in the y-axis. So why I can type in negative two and that'll move that there. And for this one, let's do two right here, 2 m right there. So that gets them in very uniform places all around the center there. Then I'd like to create groups for the different objects here or collections, I should say they're called collections here in Blender. And so for this one, I'll just double-click this and I'll call this reference images. And then I want to create another collection. I'll click this one up here, and then right-click choose new collection. Here it is down here. I'll double-click it and I'll call this reference objects. And I'll take the wheel base and the height control, click that and drag that into the reference object. So now we've got two collections for the reference materials. For this one, I'll go ahead and unhide the wheelbase. And then I can just hide or inactivate this objects collection completely. I can just click here and inactivated. Now we can also hide it. But if we just hide it here, you'd be able to see it when we rendered it. I mean, we could disable this as well. But I think it's sometimes easier just to inactivate it here for the reference images. We want to leave those on for now. But my worry is that I might accidentally in creating things here in the center, I might select one of these by accident and move it out of position. So to ensure I don't do that, What I'm gonna do is come over here and within the collections you've got more toggles than just you can view here. By default. You can come up here to this filters pulled down. And you can choose other toggles to view. This one here I like this is the selectable toggles, so I'll just turn that on. And then if we come back into the outliner, you can see we've got this new set here, this new row. And if I take this and I disable selection for this entire collection, that now means I can't select these images at all. I can't accidentally select them and move them out of place. They're there to stay. Now I can come through and I can hide them here. Right. Or I can hide individual ones. But I can't select them here in the 3D view. And that's going to help out a lot once we begin adding our 3D objects here in the center. So speaking of that, let's go ahead and begin adding one of our objects for the motorcycle. And I think what I'd like to do is begin with the frame. There's this frame, this underlying frame here that's holding everything within this space. And I'd like to create that first to get a sense of the space we're gonna be working in. I do have an image here, a reference image of a chassis for this type of motorcycles. So I'm going to hover my cursor over this corner right here and click and drag. And that will create a new window. And in this new window, I'm going to change it from a properties editor. I'm going to click that. And I'm gonna change it to an image editor right here. Now within this, let's click Image and open, and I'm going to browse to the reference images. And in here, under the internet images, I've found a motorcycle chassis right here. So I'll click Open Image, and here we go. So if I want to maximize this image to take a look at it, I can press Control and Spacebar. And now we can zoom in and really see it. So what this is is just a collection of tubes that have been welded together. And even though this is all one object as it is here, when it was originally created, it was clearly created by welding this tube to this tube and this tube to this, et cetera. And each of these pieces were welded onto it. So I'm just going to create it first as a collection of individual tubes. And we don't even need to create all of these tubes. But I think it's going to help to establish the boundaries of the motorcycle and where things need to go within this frame. So I'm going to press Control and Spacebar again. And let's give this a try. So to begin this, I think it'll hit the three key. So we're here in the right orthographic view. And I think you can see that chassis right here going down like this. And you can see that here. All right, so let's just begin with, say this one right here and create a path all the way around down to here to get that basic shape to create a path. And once again, we're going to use that add menu which is Shift a. And we're gonna come up here to curve and path. We click here. And now we can't really see anything until we tumble around and there's that path right there. It's a little too big and it's aligned in the wrong place, but we can hit our z zero and hit Enter, and it will turn that in the z-axis, 90 degrees. Alright, so let's go back to the three key here. Let's hit the S key and scale it down. Let's hit the G key and move this up. And then I'm going to just press the R key and turn it right so we get it in line with what we're seeing here. Hit the G key and move it right into here. There we go. All right, I'm going to scale it down just a bit. Get it right into there. Now that we have this generally in place, we can tab into edit mode. And you can see we've got points here that we can press the G key and move around. And as we do, you can see that curve right there. That curve is what's actually going to be there in the end. We're not going to see these points. So what we need to do is extrude this out and extend this on down around here. But before we do that, I think we need to tilt it. We need to angle it out. You can see here that it's kind of like an A-Frame upfront. It begins here in the center, but then at angles out to provide the width of the bike down here. So if we go to the front view, we hit the one key. You can see here it is right down the center, but we want to angle it out so it comes out. And once again gives us that width of the bike. Now if we turned it here, we can hit the R key and turn it. That's not quite what we want. What we do want is we want to turn it from this point and rotate it out. So if we tab into edit mode and select this one point at the top, we can move our 3D cursor and rotate around that. To do that, we can press Shift S with a snap menu, and we can snap our cursor to the selected component. Here are the two key. We click that and there's our 3D cursor. Now if we tap back into object mode, we can come up here, pull this transform pivot menu down and change our pivot point to the 3D cursor. Now when we hit the R key, there we go. We can rotate that out like that. So how far should it go? Well, that's a good question. We're not going to really know exactly how far until we begin getting more pieces on here. But it seems to me it comes out to about right here. Right. Because it comes back and goes on either side of the rear wheel. So we could maybe bring it out about like this and try that. There we go, there it's kind of angled out. We could go to the back view. I'll press Control one and see if we can see the back view here. Here's that chain, the chain drive. And that chain drive is going to be on the outside of these. So maybe we need to bring it back in just a little bit like this. Maybe right there kind of in-between the tire and the chain drive. Right? So we're just trying to figure out from the different views where the different components are. Now, we can see here maybe that's the tubing there. And that tells us yeah, that may be about right. Or is it on the outside of the chain drive? Let's see. I'm going to move that out here because you can see tubing here. Let's tumble around and take a look at the chain drive here. That's on the other side, so I'll hit the three key. Here we go. Yeah. It looks like that tubing is on the outside of the chain drive. Okay. Well, that's good to know, right? So let's now go back to control one. And we will put that on the outside of the chain drive right here. And this is the way it's going to be. We're just going to have to use our images to try and figure out where to place things. And the more things we place in the correct position, the easier the next object will be to place within the space of the bike. Alright, so now let's go ahead and extrude this on down to the back of the bike. So all we need to do is select this point in edit mode. I've hit the Tab key to go into edit mode. And now we can hit the E key and extrude out like this. Then E Again. I'm just gonna go around here where I think that curve is. Maybe we can take a look at it here and come around down. I'll hit the E key again, like this. And maybe down to here, let's say back to here. And then we're going to want to angle this up again like this. And here, and on straight back to here. Alright, so maybe I can grab this and hit the G key and move it down a bit. And we may have to move these around to get this black line in the proper place. But there we go. Now we've got that path. I'll tab back into object mode. We've got that path. That's gonna be our frame here. Alright, so in the next video we'll do a little bit more adjusting. Like if I select this one and turn on the move manipulator. And you can see that the move manipulator is here at the 3D cursor. I'm going to change this pivot point back to median point. And now we can move this back a bit, get these in line a little bit better. So that's what we'll do for our frame in the next video, we'll continue on with this, create the other tubes and get that chassis in place so we can continue on with some of the other objects. So that's coming up next. 5. Continuing the Chassis: Alright, let's continue creating our frame here for the motorcycle. Let's move this 3D cursor back into the center of the grid here by pressing Shift S one, right here, cursor to world origin. And there it is. And now when we create the next object, the next path, it will come in at that cursor in the center of the grid. So anytime you create a new object, it's going to come in wherever the cursor is. And we can use that to our advantage as we begin to place more of the objects here. But for now, let's keep it in the center of the grid and press shift a curve and path. Once again, I'll turn it with our z zero and Enter. And then I'm gonna go to the top view with the seven key, hit the S key to scale it down quite a bit like this. Then I'm going to move it over the existing one right here, and it's actually underneath. But what I'm gonna do is move it up and rotate it for this piece because it looks to me like this piece here is as wide as this piece down here. So I wanted to get it right in line with this before I turned it here. So I'm gonna hit the R key. Maybe scale it in a bit, hit the G key and move it right into here. So it's in line with this piece right there. Now that I've done that, it looks to me like this bins in right toward the center. There's a center tube here and this looks like it bends in to meet that beginning at the seat, like it begins at the seat and then bends in toward the center. So what I'll do is I'll tab into edit mode and just select this one point. And let's see if we can bend that in. I'm going to press the seven key and then I'll hit E to extrude. And I'm going to pull this in like this, just a little bit like that. E again, then E again like this. And let's see where we end up. My press the three key now and we end up right about here. Yeah, that's not bad. So I'll hit the G key and just move this up to here. And I'll do the same for each of these. So they're kind of in line. So we've got that. Okay. What I'm doing is I'm just creating one side. And then when we convert these two polygons to a tube, will then mirror them over to the other side. But first let's get this piece here, that centerpiece. And I'll hit the three key once again. And I just want this piece going down right to there. I'll press shift. A curve path will bring it up. I need to spin it in the z-axis, right? I'll press R z zero. I'll hit the S key and scale it way down at the three key again. And then let's hit G and move this up. And R. And we're going to want it quite a bit bigger here. But it's not quite in line as it it really does curve down. Yeah, I thought that was parallel. I thought that was in line, but it really does go down there towards the back. So I am going to have to turn this and get it in line. You can see that here. That piece right here. You can see that. And it goes right down to this part right down here. Yeah. So it looks like maybe that's pretty good there. Then I'll need to tab into edit mode and bring these down, some like this because these are going to connect onto that piece. There we go. Alright, so let's tumble around. Yeah, so now we're getting that basic shape there, right? Okay, now that we've got that, I'm going to hit the End key to close that panel. Now let's work on this center piece right here. I don't know that we needed all the way down, but let's go ahead and create it. I'll press shift a curve path. And for this one, I'll turn it in the y-axis. Let's press RY 90. And now it's going up and down. So I'll press the S key, then hit the three key to go back to this view, the side view at the G key. And let's turn this. It's kind of in line with the image right here. I can scale this out just a bit. Move it down. Alright, so we tumble around and there we go. We've got that center one. Now we've also got to piece. It looks like right back here, right That's going across here in front of the tire. We can take a look at another image and see what we think. Let's do that. Let's come down here, hover over this. For corner, click and drag. And we'll create a new image editor right here. And I'll click Image and open. And let's bring in another reference image. I think I'm gonna go into the iPhone one and let's see if we can find an image that gives us a sense of what's happening in the back there. How about this one here? Do this. I'm going to press Control and Spacebar. And let's take a look. Yeah. So it looks like that piece going across right here is where the offender for the back tire kind of bolts on here. So we're going to want that right there. Let's see if we can figure out where that is. I'll press Control and Space-bar again. Here it is. Here. Let's see if we can see it in this image right here. It looks like those are those bolts right here. So that things going across right about it, this place right here. Let's go to the other side, control numpad three. And we're a little bit off here and that's fine. We can readjust, but it does look like it's right about there. Yeah. So it looks like as we're putting this together, we could adjust this image just a bit. And one of the problems that we're having is that once again, these are perspective views. They're not exact orthographic views. They do have some perspective on them. The camera isn't perfectly at the same height for each of the images. So there's always going to be a little bit off here. But if we wanted to, we could come back to the reference images. Enabled select ability. Choose the right side here. And we can then hit the S key and scale down just a bit. We could move it forward just a bit like this. Right? So we can just get it a little bit closer. But as I said, the problem is, is the camera is a different lens, it's a different position. The perspective is slightly off from one image to another. So it's gonna be hard to have it be exact, but this is going to be very helpful as we're working in placing our objects. Alright, so now that that's in place, I'll turn off select ability for the images again. And there we go. So now let's put one right there. So I'll press shift a curve and path. Let's now scale it. We don't need to turn it because it is going across like that. Let's just hit the S key and scale it down quite a bit like that. And then if we hit the three key or Control three, whichever one we want, we can press G and move this up here. Kind of place it right, cross like that, right there. I'll press three. And here we are over here. So yeah, I think right in here is where it's gonna go. Now if we tumble around, we can see that we've got it in the center here. And if I hit the seven key, we can just hit the S key and scale it down until it's just right here. So okay, I think we're ready to begin creating the tubes from these paths. So in the next video, we'll create the tubes and maybe convert them from paths to polygons. 6. Finishing the Chassis: Now let's begin creating the tubing from these paths. To do that, we're going to want to look at this panel here. Let me right-click here, click join areas and join this window to get rid of that extra image window. And then this object data properties, when we select one of the paths, what we're going to use to create a tube from this, we can come down here to geometry and under the bevel section, the depth here, if we click and drag on this, you can see it creates that tube. And that's the kind of thing we want. But we're going to have to adjust some settings here. First of all, I'm in wireframe mode, I pick z and gone to wireframe. And in doing so, you can see what it would look like if we converted this path and tube two polygons to a mesh, and that would just be a lot of polygons. There's a lot of little tiny polygons in there that we really don't need. So we can begin adjusting the settings to get it down to a more reasonable amount. First of all, this resolution preview. This. If we take this down, you can see it reduces the number of cross edges to the number of points in the path. So each one of these cross-sections here is a point in that path that we created. Now if we bring this up a bit, maybe up to, well, there's still quite a lot in here. Maybe let's take this down to three. And if we hit the Z key and go-to salad mode, we can kinda see that we're still getting a relatively smooth surface there. If we take it all the way down to one, you can see we get it kind of choppy, kind of blocky here. So I think probably 3's pretty good. Let's try that. And then this other setting down here, this resolution under the bevel, what that does is it changes the amount of edges around the tube. So currently, if we take it down to zero, you can see that it just becomes a square. It really isn't a tube anymore. We don't want that. Let's increase this a little bit now let's just click on the arrow and that's 12. I'm gonna go over to solid. And let's take a look at this. And maybe let's try three. So you can see the blocking us on the ends, but with its smooth like this, it looks pretty good. So I think that's what we want from the resolution here under the devil. And here on this preview you, alright, so we've got 3.3 here and the depth. Now we need to figure out how big this needs to be around to match the image. So I'm going to press the Z key and go back to a wireframe. We need it to come down like this. So I'm going to click and drag on the depth field and bring this down until it's just about the right size here. And we've got it now. That's 0.1 here in the depth field. And that looks pretty good, I think. Yeah, I think we could go with that. And the problem is, now that we have that it's still a little bit blocky here, I'm going to scroll up and I'm going to take this to four. See if that helps just a little bit. Okay, so 4.3 now on our resolution and 0.1 for our depth. Now the problem is going to be, let me hit the End key on the keyboard to bring up this side panel here. Now the problem is going to be our scale is off from one object to another, from one path to another. So this is 0.13. This here is 0.1 for this, 1.1 for this one is 0.15. So they're not too far off, but this one here is pretty far off. This one is 0.062. And what I should have done. But this is a good lesson to learn here and the fixed could be instructive, I think so. What the issue is going to be is each of these tubes, if we set them at 0.1 here, is going to be a slightly different size because the scale is slightly different. Blender looks at the scale for objects to run a lot of tools and for a lot of settings. For this kind of setting here. It's doing it in relation to the scale. It's seeing this as the root scale, 1.0. So for each one of these, it's going to be a little bit different. It might not be too bad for all of these, but for this one we're going to have to do something to fix it. So let's keep going and we'll deal with that as we get to it. So for this one, let's take the preview, you resolution down to four. And we'll take the resolution here under bevel down to 3.4, the depth. We put 0.1 on that other ones. So let's try 0.1 here and look at that. It's just a little bit bigger, isn't it? Here, from here to here. So yeah, it's a little bit bigger. What we can do is try like 0.090, 0.085. Yeah, that looks pretty good to me. In terms of similar size as well. Maybe we could take it back up to 0.09. Let me try that. 0.09. Yes. So these two now look pretty similar. Okay. So how about this one here? This one, I feel like it's a little bit bigger than the others. So we may be able to go with 0.1 on this one. But let's go up to our preview. You type in for here, three down here, and let's type in 0.1 here. Let's see how that looks. Yeah, that's a little bit bigger than those. I think that'll be fine. And this one too, I think is a similar size. So let's just take this one. Will take this up here, our preview you resolution to four. Take this resolution to three, and we'll type in 0.1 here. Alright, what do we think? Yeah, I think those are pretty good, but now let's try this one here. What happens if we give this the same setting for here? Three down here, and let's type in 0.1 here. Yeah, Take a look at that. See how that's not quite right. So what's the deal? Well, the deal is, as I said, this scale is a little bit off or a little bit different than the rest of these. So what we can do, let's say this one is 0.14, 0.13, 0.14. So let's say 0.14. What we can do is just take this scale at the scale it up to 0.14 ish, right? About like that. And then if we tab into edit mode and hit the a key to select everything, and then hit the S key and scale back in. Look what happened. It stays at that thickness because it's doing it in relationship to the scale in object mode, not how big it is in edit mode, right? So what this tells us is in scaling these down when we were putting them in place, it would have been a good idea to do it in edit mode so that we don't change the scale in object mode. But it's not a tragedy. We can make it work. I'm going hit the S key and scale this down just a little bit more like this. And I feel like I want it to be a little bit smaller. So let's take this down to 0.09, something like that. And maybe even Let's try 0.08 when o85, let's do that. There we go. So it inserts into this one. Alright, so now I think also I need a little bit of a curve. You can see how there's just a little bit of a curve here. Let's do that. Let's hit the seven key and go to the top view. Let's tab into edit mode. Now if I take this point right here in the center and move it up, that's not bad, but these are kind of getting in the way and making it not curve exactly the way I want. But it's not bad. I mean, I can move them to here and that looks pretty good. But another way to also do this is the fewer points you have, the smoother the curve. So if I selected these two, then just hit Delete. I could dissolve these vertices while keeping the segments. Click here. Now, it's just trying to curve from this point to this point. And now I can move this back and forth and I get a nice curve with it. So all I really need is something I think about like this. Let's try that. That's the beauty of keeping it with a path for now. Instead of converting it to polygons, immediately, you still have the ability to give it that nice curve when it's still a path. Now also, let me tab into edit mode and hit the three key. And I wanted to just bring this up. I'll hit G and I just want to bring this up so it's in line with this piece right here. There we go. So that's nice. Yeah, I think that'll work. Alright, so now that we have these, I want to mirror this piece and this piece over to the other side. Everything else is in the center. But these two need to be mirrored. But before we can do that, we need to convert them to polygons. As we've seen, if I hit the tab key and go to Edit Mode, we can still see these points for the path we need to convert it to polygons. So I'm just going to select this and then Shift-click all of these because we can do it all at once. And then I'll right-click, go to Convert and convert to a mesh. There we go. Now, look at this when I tab into edit mode, we can see the polygons for each of the objects. So I'll deselect everything and then select one and hit the Tab key. And we can see now we actually have polygons. And with the polygons, we can now mirror these over. We wouldn't have been able to do this with paths. So let's go over to our modifiers panel. And in here we have a mirror modifier, but it's going to mirror around that origin of the object. And currently that's not where we want it. We want to mirror around the center of the grid. So currently the 3D cursor is there. We can press Shift S1 if it isn't and get it into the center of the grid. And then to move this object origin, Let's come up here to object, set origin, origin to 3D cursor. Now when we apply our mirror modifier, it mirrors around this point, but it does it in a really wonky way. The problem is rotation up here. We need to zero out this rotation. So it can mirror across the x-axis here because we have the x-axis chosen here. But it's actually mirroring more in the z-axis because of all this rotation. So to apply a rotation, we can press Control a and apply the rotation. There we go. There's the other side. That's good. Alright, let's do that with this one here. Let's move the object origin, Object, Set Origin, origin to 3D cursor. And then let's come over here and go to Add Modifier mirror. Now we have the same kind of wonky problem because we have rotation over here. So let's apply that rotation control a, and apply the rotation. There. There we go. Now we've got the basic outline of our chassis. And from here we can begin adding the different parts that connect to this. And it's going to give us a better sense of the relationship between each of the objects. 7. Blocking In the Gas Tank: Now of course, the real chassis here has welds where all the pieces are connecting. But at least for now, I'm not gonna do that because I may not need to. A lot of these connections are gonna be underneath other things. And I'm trying not to do work that I don't necessarily need to do. So the next thing maybe we should try is the gas tank. This is a prominent feature on the bike and now that we have the chassis done, we can maybe work on that. So I'm going to hit the three key, and with the cursor is still in the center of the grid, I'm going to press Shift a mesh and add a cube right here. Now it's a little big, of course, let's hit the S key and scale it down. And I'll go ahead and press the Z key and go to wireframe. And let's just hit G and move this up and kinda get it in a shape around the tank. So if I tab into edit mode and I'll hit the three key to make sure I'm in face mode. I'll just grab this face and pull it back. And then I'll hit the one key to go to vertex mode. And if I just come up here and select this one point, you can see that I didn't really actually select that point. I selected the one behind it. But if here in the orthographic view, if we're in wireframe, I can then click and drag. So we get both of the vertices in the selection. Alright, so now that we've got that, I'll just hit G and move this down to here. I'll drag select these, move that up here. So I'm just kind of trying to find the outward boundaries of the gas tank here. Something like that. And maybe, I don't know, let's go up to here. Let's say I'm just extending this down like that. So alright, let's tumble around. And I'll hit the Z key and go to Solid mode. And let's take a look at it. Alright, now we don't yet really know how wide this is. Let's press the one key and come over here. I'll go to wireframe once again. And we can see that the gas tank is not quite to the edge of the box here and hanging over a little bit here. So once again, the bike isn't exactly in the center or being photographed right down the middle here. But we can get a sense that that's generally about the width of the gas tank. I might be able to press S x and bring it out just a little bit more. Maybe like that. Let's try that. All right, so now what Let's do is let's split it and mirror it to one side so that whatever we do on one side happens on the other, it's just sometimes easier to work like that when you're dealing with a symmetrical piece. So a tab into edit mode and press Control R to add an edge loop. Now I can hover over an outside edge and it will give me a preview of the new edge perpendicular to that. And now to ensure that that edge is right down the center, instead of clicking, I'm going to press the Enter key twice, once there, and once again. And now that edge is locked into the center there. And that's good, that's what we want. So what I'll do is I'll press the three key and I'll Alt click between two of the faces, and that will select a face loop all the way around. And then I'll shift click this face here, and then let's just press delete and delete faces. Now that we've done that, we want to add a mirror modifier. So I'll come over here to the modifiers panel, add mirror, and there we go. Now I'm gonna go ahead and turn on clipping as well because let me show you what happens if we do not have clipping turned on. If I select this and I pull it this way, it can split apart. So we don't want that. What we can do is turn on clipping here. And then as I bring this back in like that, now it's clipped together. I can't move the points apart. So that's important if we want to be sure and seal that object up before we apply it. So now we've got this. Let's start working on shape of this. I'm going to press Control R and add an edge loop through the center. Then I'll press the three key and go to wireframe with the Z key. And let's start adding a few more edge loops from this side, Let's press Control R again and add an edge loop here. I'll just click the mouse twice to drop that there. And then I can drag, select these two points, or excuse me, these three points. I'm only selecting these two because this is actually part of the mirror, the mirror modifier. But if I select those points and hit G, I can move this up just a bit like this. And maybe I'll drag select these and move these down just a bit. This. And maybe I can grab these and move these in and move this out just a bit. So I'm still trying to just keep to this form this outside edge of the gas tank like that. And then this could probably come in just a bit. Maybe even in like this. Drag, select this, move it in. So I'm just trying to get the basic shape now. Let's go back to solid view and take a look at it. Oh, and we can also turn on the view so we can see the edges on the other side on the mirror modifier. So we can come over here and turn on cage right here. And now we can see those. We could also grab these edges. I'll press the two key and select these and move these out a bit since it kinda bulges out on the sides. And in addition, we should probably take these and move these in because I think they curve in just a bit. Let's go to another image over here just to make sure I'll click Image open. And let's go into the iPhone photos. And let's just find one of these that kinda shows it from, well, here's a relatively kind of a top view here. You can see it kind of curves in just a bit here. Kind of into chassis frame that we created here, right? So we could maybe just come in like this a bit. Let's try that. And then also we can take these edges and maybe move him back just a bit like this. There we go. So we're getting some of that shape now. We probably want to take these and move them in just a bit here. Now there is a split in it here. You can see that opening there. We will probably work on that or use a Boolean modifier to cut that out. Then also, I think I want to take these up here and pull these up just a little bit like this. There we go, something like that. And maybe even these edges here I'll tab back into edit mode and just grab these and pull them back just a little bit because it looks like it kind of curves there. Alright, so in the next video, what Let's do is let's add a subdivision surface modifier to this. So we get that nice smooth curve. And we'll adjust it to fit the image a little better. Once we've done that. 8. Beginning the Seat: Before we add a subdivision surface modifier to our gas tank, Let's clean up the outliner just a little bit. This is just useful every once in awhile to make sure you're not getting completely disorganized. So this cube here, this cube object, Let's change this to gas tank. And these objects here are the chassis and I don't want to combine these together yet. I want them as separate objects so I can deal with them individually. So what I'm gonna do is just select this one and shift select the bottom one to select all of them. And then let's create a new collection for these. We can just press the M key and you can see we get this move to collection menu and we can move these objects to a different collection or create a new one here. So we'll just click New and then we'll call this chassis. And this may change over time, but I just wanted to organize them for now. And here we go. Now we've got a chassis collection and all of these paths, or nurbs paths are in this collection. Now a NURBS, that is a mathematical acronym that stands for non-uniform rational B-spline. So if you want to Google that and do a little light reading on that, but that's the mathematical process that is used to create these paths. Anyway, more than we needed to deal with there. So let's go back to the gas tank and to smooth this out, what I'm gonna do is add another modifier, a subdivision surface. So I'm going to click here. And now you can see that smooth that out just a bit. Let's twirl up the mirror so we can see this new modifier. And if we increase the viewport levels here, I'll take it 1-2, you can see it's smooth it out even more. And that's actually beginning to look pretty good. Now we can also smooth it so it gets rid of these polygon facets here so we can right-click and choose Shade Smooth. And that smooths it up quite a bit. Alright, so let's see how we're doing. Let's hit the three key, and then let's hit Z and wireframe and take a look at how we're doing here. And it's really not bad. I just feel like I want to tweak the shape of it just a bit to match the image a little bit better. So let's tab into edit mode. And you can see what happens here. We've got the original cage and then the smooth subdivision object inside it. Now we can come over here and turn on cage for this one as well. And those points will drop to the smooth mesh. Now, keep in mind this is just a trick because if we click on one of these points, you can see that the actual point is still up here. If we turn this off, there it is. So it's just kind of a human beneficial visual aid for us, I guess you could call it. That just gives us a sense of the shape in a little bit cleaner interface. So let's take these two points here and hit G. Drag these up. And I'm just going to grab these points and begin moving them out to match the shape of the image. And we can probably move this up a bit. It looks like right in there. We can take all of these and maybe hit the G key and move him back a bit like this. Maybe down a bit. Just trying to get the shape to match the image. That's all. Alright, let's take a look at it in solid mode. Alright, I think that's pretty good. It looks to me like it's a little bit flatter on top than we have here. Let me try one thing. I'm going to add an edge loop with control are writing here that made it a little bit flatter on top. We might be able to work with this. Let's take these and pull them out a bit. Let's take these and pull them down just a smidge like this. We can begin to get that shape. Maybe this edge should come forward a bit. Let's try that. Maybe this edge can come back a little bit. So you may just want to go through and just pull some points around, pull some edges around and see what you can get in terms of the shape of this thing until you get to the point where you kinda like it. I'm gonna hit the one key and then the z and wireframe. And I kinda wanna take these edges down here and maybe pull them in just a bit like this. I'm not sure. Maybe grab one of these and pull them out just a bit. It may be too much, but I'm seeing it right in here. Alright, so that's pretty good. Let's go with that for now. We can always do more adjusting as we go on. And that's one of the reasons why I'm leaving the modifiers on the mirror and the subdivision. I'm not going in and applying them quite yet because I wanna be able to make some adjustments as we move forward. We don't want to lock ourselves into a certain way of doing things. Because as we add more of the objects, more of the pieces, it's gonna become clearer how they fit together and what the relationship is between them. Well, the next kind of major piece up here on the top is the seat. We have a pretty good image of it right here. Let's see if we can add another image in here. While we create that. I'm going to hover over a corner here, click and drag down to create a new window. And then I'll click here and go to Image Editor. And let's click Image open and go into our reference images here and see if we can find another image of the seat. This isn't bad right here, Let's try that. So there are two fairly similar views, but I think these might help us a bit in addition to our side views here. So how should we begin something like this? Well, for a complex shape like this, what I usually like to do is begin with a polygon plane. Since a polygon plane is really just a two-dimensional object, it's easier to pull and push and mold into the proper shape. And then once we get that plane into shape, then we can add thickness to it. I try and do one thing at a time. So let's try and get that shape down first and then we'll add the thickness. So let's press Shift a mesh plane and let's scale it in. And remember I've got the 3D cursor here in the center of the grid. So it came in in the center. And I want to keep it in the center because I still want to add a mirror modifier. I'm going to hit the three key and just hit G and move it up here. And I'll hit the S key and hit G. And once again, because I'm moving here in the orthographic view, it's staying in the center. The archae and rotate it a bit like this. Alright, and then let's come around here. And while we're here, let's go ahead and add an edge right down the center so we can add that mirror modifier. I'll tab into edit mode, press Control R, and then I'll hit the Enter key to times. I'll push the three key to go to face mode and select that face, hit Delete and delete faces. And now let's add that mirror modifier here. There we go. Oh, and I need to turn on clipping, right? Let's do that. Alright, so now that we've got this, maybe we should add a few edge loops and begin pulling this around. So what if I added an edge loop right here? And if I turned on the cage here, we could see it on the other side. Alright, so I've got three edges here. What if I added three edges here? If I press Control R and hover over this, and then scroll the mouse wheel, I can add as many edges as I want here, but let's scroll back and just add three. And then I'll hit Enter two times. Okay, so now we have some points that we can work with. And to get this nice smooth shape here, Let's turn on our proportional editing. We come up here and hover over this. You can see that this is the proportional editing tool. If we turn that on. Now if I select a point, let's say this point in the center, but hit the G key and the Z key. I'm going to move up and down in the z-axis. But look at this, it's moving the entire thing. I don't want that. So the reason why it's doing that is because it's area of influence is so big it's moving the entire object. So if I zoom out a bit and hit G and Z again. Now you can see this area of influence. I scroll in Nam, it's a bit smaller and I can push down and pull up. So I'm just going to right-click real quick to get out of that. And then let's come in here a little bit closer. And let's do that again. I'll hit GZ and begin moving this down and I can scroll this out and n to change the influence. So I think I want it to come out about like this or come down about like that. And then I'll go ahead and turn this off and we can turn it off using the 0 key. The 0 key turns it off and on. You can see that here. So I'll turn it off for now. And then let's begin arranging these points a little bit better. So I'll hit the three key. And I think I want to take all of these and move them up just a bit like this. And then take these sides here and begin pulling them up a bit. Kind of like this. I'm trying to get that general shape of the seat there. Let's tumble around. Okay, I think we're getting somewhere. Let's hit seven key and I'm going to grab these. I hit the G key and move these in a bit. And maybe I'll hit the G key and move these in a smudge like that. Alright, let's tumble around and see what we're doing here. Well, we need to move that up just a bit. I think right? There we go. And then let's grab these edges here. I'm going to extrude these forward. So let's first of all take these points. I think I need to move them up a bit. Move that up a bit and take this one and move this up a bit like this. I'm just trying to get that slope up here. And then once we do that, let's take these edges and let's extrude them forward. So I'm gonna hit the E key and just pull these forward like this. Then I'll hit the one key and select these and began kinda moving these forward like this. So once again, we're just trying to block out that basic shape of the object, kinda like we did with the gas tank. So I'll press Control R here and add an edge and then bring that up it g and bring this one up here like that. Then we probably need to come up here and begin moving these around a bit. So let's take this and move these in. Move that out, maybe. See how we're doing here. Yeah, Alright, So we're getting that basic shape. It looks to me like I need to widen this out a little bit here. So let's begin taking these out a little bit like this. And these could probably come in some, I'll just hit G and move these in a bit like this. We could probably add an edge right here. That'll help us as we work with that shape. Alright, that's the beginning of the seat. In the next video, we'll do a little bit more refining. We'll add a subdivision surface modifier and we'll add some thickness to it with a solidify modifier. 9. Blender's Modifier Stack: Now that we've got a basic shape there, Let's go ahead and add a subdivision surface modifier. However, now that I look over here at the outliner, I don't see our new object and that's probably because I accidentally put it in this new collection Sure enough, so we can take it and we can drag it out of here. But also once again, we can use that M key, hit the M key and then just move it to Scene Collection. And now it's out here outside of that collection. So let's give it a new name. Let's just call it seat. Here we go. Now let's come down here. Let's add a new Modifier, a subdivision surface. If we tab into edit mode, we can see the cage isn't quite on the smooth mesh. So let's turn on cage here. There we go. Let's turn up the view port level to two. And if we tap back into object mode and right-click, we can smooth it here with Shade Smooth. Okay, now let's see what we can do to get it a little bit better into shape if we hit the three key and z and wireframe. Alright, so now we can just take these and begin moving these up. Getting these more in place. Maybe I'll take these and moving back here like this. You can just move them around a bit. Get them the way you like it. Maybe I'll take these here and start moving them up. Like this, like this, like this. I'm wondering if I need another extrusion here to come on around here. Let's try that. If I select these two, I'll get those edges here. And I may want to pull this out just a bit like this. And then let's just extrude this. I'll hit E and pull that out. Kinda like that. And then we can get this curve a little bit better. That's not bad. It's just a matter of doing some pushing and pulling and rearranging of your points here to see what you can get in, to see how close you can get to that object, to that shape. Now, I do think I need to pull this out just a little bit. I think what I'm gonna do is take these points here and I'm going to pull them out. And I want to push them out in the x-axis, but I want to slide them along this edge here, these edges. So to do that, instead of just pressing G, I can hit G two times. And that will slide those points along that existing edge, right? As opposed to just pulling like this, which may actually be good. Actually, if I pull this out like this, That's not bad. But anyway, I just wanted to let you know that you can press G2 times to slide an edge or a point along the perpendicular edges. Let's take this and maybe move this out a bit like this. And we might be able to move these out. Yeah, so I think we're getting there. It's just a matter of kind of, as I said, pushing and pulling and trying to get that shape the way you want it. Alright? So if we've got that the way we want it, Let's just say we do. The next thing is to add some thickness to it. And to do that, I'd like to use a solidify modifier. Well, let me move everything up a bit so we can have a little bit more room down here in the Properties window. So I'm going to twirl the subdivision surface modifier up. So we have a little more room. And I'm going to click Add Modifier and solidify. Now, if we come over here to the thickness field, we can click and drag and begin to add some thickness here. I'll turn on even thickness like this. And you can see we're getting some thickness. This is collapsing in on itself. So we may want to try and adjust that. Let's tab into edit mode and see what we can do about that. It looks like if we take these up a bit, maybe that won't happen quite as much there. And let's pull these out a bit like this. And maybe we could pull these out just a bit as well. Kinda like this. And maybe I'll take this edge and hit the G key two times the slide that like this. There we go. Alright, that's pretty good, but it's kind of blocky. We've got this kind of sharp edge on the top and the bottom. And this here is pinched, so that's not quite what we want. But within blenders modifier stack here, you can move these modifiers around and when you do, you can get different effects. So currently it's applying the mirror modifier, then the subdivision than the solidify. If I click here and drag up and drop it right above the subdivision. Now it's doing this solidified before the subdivision. It's adding thickness and then it's smoothing it. So now we're getting a little bit nicer. One curve here. So let's twirl this down and let's add a little more thickness and see what we can do here. Let's go to that three key. I'll go back to wireframe. And we can begin to get a little more thickness here, but it looks like we're going to have to come in and rematch up some of these points because we've changed the way Blender is applying our modifiers. So I'll hit G and move this up. G and began kind of rearranging these just a little bit to get it back in shape. So let's try that back to Solid View and let's take a look at it. So I think we're doing pretty well. It's just that this area right in here is kind of bothering me. Let's get this a little bit better in shape. I'm going to take this and move this out just a bit to make that turn a little bit more pronounced there. Let's try that. So just keep tumbling around trying to find problem areas, areas where you can do a little bit of work, reshape it, get it to the point where you like it. Alright, now the next thing is, I want to apply this solidify modifier to do a little bit more tweaking with polygons down here. Currently, these down here aren't real. We can't apply like an edge loop between them. This is just part of the modifier on the bottom. And to apply the solidify modifier here could be problematic. Blender tends to want you to apply the modifiers from the top down of the stack. So if I clicked here, it pulled this down and click Apply. What happens? That's kinda ugly. It's now applying that mirror in a really awkward way. So I'm going to press Control Z. And you can see that if you drag this solidify up to the top, you can see that there. If you drag the mirror down to the bottom, this is what happens. We're getting some thickness, then we're subdividing and then the mirror is happening. So that's getting really weird. Let's get the mirror back on top here. So the issue is we need to apply from the top-down. We need to get it in a shape that we like and then apply from the top-down. So what I'm gonna do is I'm going to apply the mirror burst here. And then I'm going to apply the solidify here. Now if we tab into edit mode, you can see we've got polygons all the way around on the bottom as well. But I don't want to lose the ability to have that mirror modifier because as I do some tweaks, I'll want it to happen on both sides. So what I'm gonna do is reapply a mirror and then apply a subdivision. So I'm going to take this away, hit the X there, and now it's really ugly. And I'm going to tab into edit mode and hit the seven key. I'll go to wireframe, hit the three key for face mode, and then I'm going to drag select just one half of the object, hit the Delete key and delete faces. Now I'm going to add a mirror modifier again. Here. Turn on clipping. And then I'll add a subdivision surface modifier once again. And there we go. Now I can turn this up to two. And I'll turn on the cage for both the mirror and the subdivision. So now we're back where we started. But we now have thickness to the seat and we can continue tweaking as needed. 10. Blocking in the Tires: Well, the last thing I'd like to do with this seat before we move on to something else is just maybe come down here and grab one of these edges right here and maybe pull it down. So we round out this area down here. And then I might try. It's got this seam all the way around, but I might at least tried just to add an edge loop here and see if I can pull it down just to kind of sharpen that edge up just a little bit. Because the closer you get these edges together, the sharper the corner will be between the two edges when you're using the subdivision surface modifier. So let's just see how that looks. Yeah, see that's not bad. I think that'll, that'll work pretty well. And maybe I will take these edges here and maybe pull them up just a little bit like this. So once again, just keep tumbling around taking a look at things. And as we add more objects to the scene, we're going to see things in a new way and then be able to go back and do some adjustments then as well. Alright. Well, continuing with adding or blocking in the larger pieces on the motorcycle, I think maybe the next thing let's do is add some wheels, at least block them in, get them in place so we can see how they look. So let's change our reference images over here. I'm going to go to Image open and maybe I'll grab this one here. Let's do that. So that gives us a pretty good view of one of the tires. And then over here, maybe let's just grab this one here so we have two different views of it. And even though the tires are kind of like a doughnut or a torus. And blender does have a primitive object. Tourists here. I think instead I'm going to use a cylinder because I feel like I can control the shape a little bit better by extruding and creating the shape more from scratch. So let's go ahead and try a cylinder here. So I'll select that. And of course it's a very big here. I'll open up this Tools panel and we currently have the number of vertices for this cylinder at 32. I think I'm going to leave that as is. I'll shrink it down a bit by typing in 0.1 m here and 0.2 m here. And then also I want to remove the cap fill currently there's a cap on the top and the bottom of the cylinder and I'm just going to pull this down and choose nothing. So now I can hit the period key to zoom into it and to frame it up. So we tumble around this point in the scene. And I'm going to need to turn this. Let's rotate it on the y-axis. So I'll press RY 1900s to turn it 90 degrees and press Enter. And if we hit the three key, it kind of disappears. We can still see the center there. But because it's just a very thin object, it kinda disappears. Now one thing we can do to see it is we can tab into edit mode and then we can see it there when it's selected. However, if we move it here in edit mode, we have a similar issue that we had with the frame. We move the mesh away from the center point. And I want that center point to be able to put it here in the center of the tire. And you can see that if I hit the G key and move it, you can see the origin is still here in the center. So what I'm gonna do is tab back into object mode and just kinda trust it's there and hit the G key and move. And I can see that center. And I'll just place the center where I want it to be. Now that we're kinda close to where we wanted here, I'm going to tab into edit mode. And now I can scale it up here. I'll hit the S key and scale it up. Now we'll try and get it the proper size for this tire. So once again, we're going to struggle with the perspective of the photograph. Here. Things aren't exactly being seen from the side. This tire isn't going to be exactly round and also it isn't gonna be round just because of the weight sitting on it and gravity pulling on it. But we're going to get it as close to the size that we see here is we can, so maybe something like that. Now if we tumble around, you can see it's a little bit too wide. So I'm going to press S and X and scaling like this. Now as I extrude this out, I'm going to want it mirrored on the other side, so it will do the same thing over there. So let's put an edge straight down the center Control R, and then hit Enter two times to ensure it's exactly in the center. And then I'll press the three key to go to face mode, alt click between two of the faces to select a face loop. And then let's hit Delete and delete faces. Now we can come over to our modifiers panel and click Add Modifier and choose mirror. Now once again, we're having a problem here because we're supposed to be mirroring and the x-axis, but it isn't coming across that x-axis, which means. If we tap into object mode and hit the End key, sure enough, there's rotation here in these fields, which means we're gonna have a problem trying to mirror it over. So let's clear the rotation, control a, apply the rotation. And there we go. And let's also be sure to turn on clipping. And if we tab into edit mode, we can see we do not have the cage on this side, so let's turn it on here. Now we're ready to go. So what I'm gonna do is alt click this edge here to select that entire edge loop. And let's begin fairly far in like this. And what we're gonna wanna do is extrude and kinda curve it down around and into the wheel frame. And it's kinda hard to do that with just one viewport. So blender has what's called the quad view and you can access this with Control Alt Q. And now we can see four different views. I'm going to hit the End key to close the sidebar, and I'll click here to close that settings panel. And now you can tumble around here. Here's the perspective view. And then we have a front view, a top view, and a side view here I think I'll also hit the Z key and go to wireframe. And then let's give this a try. I will hit the E key EX and pull out just a bit. And then I'm going to scale and I'll just hit the S key and scale in just a little tiny bit. And then I think I may have brought it out too far. I'm going to bring it in just a little bit like that. Then let's try that again. Ex, pull out just a smudge. And we're going to scale in. And I think I'll go back to Solid View now. Let's see and solid. Then let's try this again. Ex, but just a smudge and I'm going to scale it in quite a bit now like this. Then let's just hit E and S and scale in like this. Let's do that again. E S scaling to the rim. And then I'm going to pull in just a little bit, kind of like that just to smudge. Alright, let's tap into object mode and see how we're doing. Alright, I think that's pretty good. I'm going to press Control Alt Q to come out of that. And there's a couple of things I think I feel like the front part is a little bit to flat. You see how it kind of curves from the beginning here. So maybe I'll take this edge, I'll Alt click it and let's scale it in just a bit. The S key. And maybe we can take this and scale it out. Just a smudge. S, pull that out just a little bit, just the tiniest amount, just so we get that curve. Alright, so I think that's a good beginning. Let's select it and right-click it and choose Shade Smooth, Smooth that. Now is it thick enough? It feels like it may not be wide enough. Let me see. Let's go to that front view. Go to wireframe and what do we think here? Well, it's not bad, but I think I will just scale out in the x just a little bit like this. See how that works. Alright, I think we're doing pretty well. Let's just duplicate this and use this for the back tire as well. But before I do, let me think I want to take this edge right here and pull this out just a little bit. I feel like it needs to bulge out a little bit more. Going to pull these out just a little bit. Yeah, so we just get a little bit more of a rounded feel out here. Once again, we're going to continue to adjust this as we go. But for now I think this is pretty good. Let's go to the three key to the side view. And let's press shift D and Y and just move this straight back here. Kinda get it in place. Centered along here. There we go. Alright. There we go. Now we've got our tires blocked in. We're beginning to get a sense, I think, of the size and proportions of it. So in the next video, Let's do is use our tires to begin getting the shape and size of the vendors as well. 11. Beginning the Fender: Now that we've blocked in the tires, let's use them to create one of these vendors. And the vendor is kind of interesting in that I'm going to press Control and spacebar here in that it looks like it's actually two pieces. It kind of looks like it's this top piece here, down to this edge. And then there's a straight piece that goes along the side here. And when I mean straight, I mean straight vertically. So there's this curved piece here and then the straight piece underneath it. And I think it might be nice to replicate that edge there all the way down. So let's give that a try. I'm going to press Control and Spacebar again. And now let's use this tire here. Let's hit the three key to go to face mode. And then let's use these faces here. Maybe if I hit the three key here, Let's begin by, well, let's grab this face here that kind of aligns to the vendor. And then let's press Control and maybe grab this one here. Let's do that. So we've got these faces selected now. Let's then duplicate them. Press shift D and I'll just move the mouse up. Kind of maybe the here, hit the S key and you can see we're just creating the basic shape now of that vendor. Maybe kind of like this. Now we need to split these faces out from the tire so it's its own object. And to do that, we just press the P key so we can press P and then separate by selection. Now we can also come up here to mesh and separate hi selection here. Let's do that. Now if we tap into object mode and select just this. Now you can see it's its own object. We can tab back into edit mode, and now we can work on the fender here. So let's see what we can do with this. Let's select this edge here. I'll Alt click that edge. And then if we go back to our front view here and go to wireframe, we can kinda see that in here underneath everything. Now, if all this wireframe stuff is in your way, we can of course hide that by just coming over here and we can hide the chassis. But look at that. It hit our vendor entire as well, which tells us that when we created these objects, they came in in that collection. So let's bring that back. Let's tab back into object mode, and let's take a look at this. Let's see if we can rearrange our outliner so we can hide these a little easier. If we select this fender and this tire, and this tire, we don't really see them here in the outliner and that's because they're here in this chassis collection. So once we select them here, let's pull them out of that collection and put them in the main scene collection here, we can press the M key and choose Scene Collection. And there we go. Now we see them out here. So that if we then go back to the front view and let's hit that Z key and go to wireframe. Now we can begin hiding these things like the chassis collection that hides that, the gas tank and the seat. Now we have a clearer view of that reference image. So once again, keeping the outline are fairly organized is going to help in these kind of situations. And it helps in a lot of other situations as well. But let's go ahead and go back to Edit Mode. And I think I'll also go back to our Quad View with Control Alt Q. And here's our top view, front side. And we can tumble around here for a perspective view. So let's do that. And now let's begin extruding out. I'll hit E x. I'm going to pull out just a bit. Maybe to about here. And I think I'm going to scale in just a little bit because it looks like there's just a slight curve there, but I'm going to scale in just a little bit. And then let's do that again and bring that down. So press E and X and coming out to here. And then I'll scale in again just a little. And I'll also bring it down some like this. Maybe I'll come back in just a bit like this. And then let's do that again and get that turn. Let's press and pull out. I'm going to pull down just a bit. And then I'm going to scale in as well here in the side view. And then I'll press Control Alt Q to go back to our main view, Let's hit the three key. And now we should be able to begin lining this up. But I think before I do, I'm going to pull these down to where the red paint is. And then we'll do one more extrusion to get it to the edge here. So let's try that. I'm going to just begin grabbing these points, hitting the G key and moving them so they're in line with where the red paint ends. Just moving each of them down. It's kind of a pain. But there are times when you just have to grab some points and move them around, you just have to do some point polling and shouldn't be afraid of that. Let's move that in just a bit. Alright, so now that we've got that I'm going to tumble around, go to solid view. We've got this basic shape now. It looks like this one here came down a bit, so I'm going to bring that up just a little bit. Once again, continuing to tweak every time we tumble around and see something new. But let's select this alt click this edge Back to this side view, and I just want to extrude down to this edge right here. You can just barely see that in the black, but you can really see it over here with this color. So let's just hit E. And I'm going to pull down maybe about like this. Then I'm going to scale in some as well. Let's move it and then hit the S key and scale in. Maybe something like that. That's pretty good. Now let's go back to wireframe. And let's begin moving these into place. Now, I'll do another extrusion to extend this out. But go ahead and get these in place first. Alright, let's see how we're doing here. Let's go back to our Solid View tab, back into object mode. Let's go ahead and finish these off on the edges here I'll press Alt and click this. Let's go to our side view, and let's just hit E and pull this out down to here. Kinda get that shape there. Alright, and then let's go down and do this here as well. So I'll Alt click this edge and maybe go to wireframe. And let's just take this E and bring this down. Let's begin moving these points into where we want them to be on press G and move this down to here. There we go. So we've got those in place as well. Alright, tumbling around. Back to Solid View, tab into object mode. And there we go. We've got that basic shape for the offender. Now, in the next video, will once again use an object like this to then create the next object that's going to be interacting with it. This piece here on the side of the fender. 12. Creating the Fenders: Continuing with the fenders, let's work on this flat part here. And to do that, I think what we can do is grab this edge here. Let's Alt click this edge. And maybe I will take away this point. And if I go to wireframe, Let's take a look at this. Yeah, Maybe I'll take away this point as well. So we've basically got that bottom edge or the fenders selected minus two points here. And then I'm going to press Shift D and move them up just a bit. And I'll hit the S key and scale them out just a little bit like that. So now they're up inside the fender there. What I'm gonna do is split this out, this edge as its own object. So currently it's still a part of the fender object, but I want to split it out as its own. So I'm going to press the P key and choose to separate by selection. Now if I tap back into object mode, I can just select that one edge. There it is. And then tab back into edit mode, hit the a key, and there we go. Now we're back to where we began, but this is a separate object now. And then what Let's do is just duplicate this shift D and bring it down. And now I'm going to use this for this area down here. So maybe I can hit the R key and turn it a bit, hit the S key and scale it down. So I'm just trying to get it. And at the bottom of this red line here. So maybe something like this and yeah, I am going to have to pull some points here. I'm just trying to get it as close to that edge as I can there. And now that it's there, Let's go in and do a little point pulling here and get it in place. So I'll just hit the G key and begin moving these around to get them just to the bottom of that red line here. I think that's what we want. Maybe I'll move this one up a bit. The chest getting these in place here. And I'll take this one and move it here, here. And this one I'll kinda move into here like this. Alright, so now that we've got that in place, I'll hit the a key and that selects those two edges. And now all we have to do is just bridge edge loops. And to do that, we can come up here into the edges menu. And here's bridge edge loops here. Or to get to the edges menu out here, we can press Control E. And that'll bring up the edges menu. But if we want to bring up the vertex menu, we can press control V. And if we want to bring up the faces menu, yes, That's just control F. So let's press Control E, choose bridge edge loops. And there we go. And because this edge was duplicated off of this edge, it had the exact number of vertices. And so we were able to bridge edge loops without a problem because you need the same amount of vertices in each edge. Alright, so now that we have that, let's go back to Solid mode. And I'm just going to take this and you can see as I move it around, you've got this Z fighting, this display error going on because both objects are in the exact same place and we don't want that. We wanted to kind of move this in a bit like that. There we go. Now let's go back wireframe and let's extrude these atoms. You can hit the two key to go to Edge mode and hit the E key. And let's extrude this out. And then I'll grab this vertex here. Then maybe grab these two again, hit E. And that's kinda bring these out like this. Now we're probably gonna have to do a little bit of work to bring that. And actually that's not too bad. I'll just kind of grab this and pull it in a bit like that. So ultimately we're going to give these two objects some thickness will probably use the subdivision surface modifier will have to apply the mirror. But for right now, I'm just trying to block these objects in and get them in place so we can see how they look. Let's go down here and go back to wireframe tab into edit mode. And I'm going to select these two points, it the E key and move down to here. And then let's do that again. Select these two points, hit the E key and move down to about here. Like that. Alright, let's go back to Solid. See how we're doing. Yeah, that looks pretty good. Okay. So there we've got the front fender pretty much blocked in. Alright, so now let's take a look at this vendor back here. I'm going to go back to wireframe. And for this one, what I'm going to do is duplicate this and move it over here, turn it and see if we can get it in place. So let's press shift D and Y, and I'm just going to bring it over here. And then I'm gonna hit the R key and spin it a bit. Let's see what we can get in here. So it looks like. I'll hit the G key again. It looks like the top of them kinda go like this right here. And let's see down in here, we really need another view here. So let's go to Image open and let's look at the rear fender here. And maybe let's add one in here. Where's another rear fender that we can look at? Here we go, Here's the other side. Alright, so it looks like that's pretty good. I think that's about as close as we're going to be able to get it like this. So what Let's do is begin doing a little bit of adjusting to get it in shapes. So down here, I think I'm going to take these faces here. I'll Alt click between two of the bases and maybe delete these faces here. And then if I Alt click these edges, Let's see what we can do here. So maybe I will grab these and hit the G key two times to slide it along this existing edge. So it kinda be in place here, something like that. And maybe move this one down. And this, and let's move this all the way down like this as well. And now we can take these and flatten them in the z-axis. And so if you press the S key and the Z key, you can scale in the z-axis and you can see how that's kinda flattening these. But in addition, what you can do is just press the zero key and that will flatten them up completely and then press Enter. So that's a neat trick there. Let's get this in place like that. And I'm not sure how far we need to pull these in. I feel like they need to be in a little bit more here like this, even though it's hard to see. So it looks to me like we could take these and move them back like this. Take these and move them down around in here like this and hit the R key. Turn that a bit. Alright, so we've got that. Let's take a look at it in solid view. Yeah, that doesn't look too bad actually. I think what we need to do now is deal with this piece here. I will come in here and grab these points here. Maybe I'll make them a little bit more in line with what I want. I'm going to turn them and maybe just straighten that out a little bit here. Okay, so now I've got these, I'm going to grab these and I'm going to duplicate these as well. And it looks to me like there's a seam back here. So you can see here this kind of fits over this a bit. So let's just press shift D and duplicate this and move this kind of above that just a little bit. And then let's separate this out with the P key and by selection, and now this edge is its own object. Now we should be able to tab into edit mode, hit the a key to select everything, hit E and begin extruding this out here, I'm going to hit E and then r, e, r here. E. Just want to begin bringing these down like this. I'll hit the E key again and come in right to here. And then these, it looks like we could angle in just a bit a0 and then back out E. And maybe to here. And then I'll bring this all the way out to here. And let's move these in a bit. Just point-by-point. Here we go. Alright, so let's take a look at that z and solid. All right, that's looking pretty good. Let's bring this out just a bit right here, because we do have a little bit of Z fighting right in here. Maybe like that. Then I'll right-click and choose Shade Smooth. Alright, so there we've got the back vendor. Let's do the same thing that we did previously for these here. Let's go to wireframe and select that edge. And then let's press shift D and move it. Well, we want to move it up into here and I don't, we, Let's do that and then hit the S key and scale out just a bit. Kind of like this. And then let's go ahead and separate it into its own object with the P key and selection tab back into object mode. And just to that edge right there, tap back into edit mode, hit the a key and then Shift D and duplicate, move it out and scale it down a bit. So we try and get it as close to this edge is we can something like that. So I think that's pretty good. I do want to move these a bit, move these back a bit like this. And let's go through and try and move these into place a little bit better. I'll move this one and this one. Alright, so let's hit the a key and then press Control E and bridge edge loops. Alright, now let's take a look. Let's move it back in just a bit. Good. Now let's do it one more time. Over here. Select that edge. Maybe I'll de-select that one down here. Go to wireframe, Shift D. Let's move it up a bit. Split it out into its own object, and back in edit mode. Let's press shift D and move this down to here, something like this. Then let's begin moving these points to get them more in line. Here. Here we go. Something like that. Let's hit the a key control E, bridge edge loops. There we go. Now we can take this and move it in just a bit. I'll tap back into edit mode to do that. Something like this. There we go. That's the basic shape of the fenders. And as I said, we'll do more clean up on this, but I just wanted to get these in before we moved on to other things. 13. Modeling the Headlight: All right, before we do any more, Let's do a little clean up again. Here in the Outliner. Looks like we've got some things that we can create a few collections for. So let's select the tires and let's just press the M key, create a new collection and we'll call this tires. And so there we have those. Now these other things, the vendors, we should probably put these in a collection as well. So I'll select all of those. Press M new collection, call it vendors. And now we've got those. All right, That's looking a little bit better. Let's bring back the chassis, the gas tank, the seat. And yeah, so I thought maybe the next object we should create is this headlight. It's, it's kind of a fairly prominent object on the motorcycle here. So let's work on that. Now, if I hit the three key and let's go to the side view here and take a look at it. So this is gonna be kinda interesting because you would think it would be fairly easy. However, one might be tempted to just bring out a sphere, a UV sphere and put it in here and cut it in half and it'd be fine and that would be okay. But let me show you a problem with that. Let me press Shift a mesh UV sphere. And I'm going to scale this down. And let's press RX 90 to turn it. Now let me hit G and bring it up here. I'll hit the period key to zoom in. And if we go to wireframe, let me just show you something here. I'm going to get rid of half of this, delete this, and delete faces. Now if we scale down to about here and then we press S and Y and scale out a bit. You can see we're beginning to get that shape. However, let me show you something as we try and smooth this. Well, let's say we want to add a subdivision surface modifier to this to get it really smooth. So it doesn't have any of that kind of blocking this with the polygons. So we can come over here and add modifier subdivision surface. We can maybe turn it up to, to, to get it really smooth. And then look what happens. Can you see that polling that's happening around that single-point? See that it gets a little bit messy back there, right? You can kinda see that right there. And there are different ways to try and avoid that. You could come in here and choose every other edge and dissolve those edges. But that still doesn't really solve the problem. There's still that single point there that's going to cause polling around there. So to avoid that, There's another way, let me hit Delete and delete that. We can actually do is begin with a cube. And I know that sounds strange, but let me show you what I mean. I'm going to press Shift a mesh cube and then I will hit the S key and scale in. Let's hit the G key and move this up here. And now, what I'm gonna do is add a subdivision surface modifier to this. Well, add that, turn it up to, let's say I'll right-click Shade Smooth and believe it or not, we're beginning to get something that we want here. Now, what I'm gonna do is cut it in half. I'll press Control R and then add an edge loop right down the center. I'll press the three key. Let me go to wireframe so we can see this. And I'll delete these faces here on the front. Delete and delete faces. And now what we can do is select this face here. Let me go ahead and turn on the cage. And we can scale that down until we get that point or that curved point that we see here. So let me just move this back. So you see what I'm doing. I'm just getting this point right here. So there is no point in the center to cause that polling. And then from this we can extrude this forward. So if I take this edge and move it back a bit, and maybe this face and scale it down a bit of something, maybe like this, Let's say. Now before we do anything else, a problem we're going to have is that this isn't exactly a circle. If we go to the front view, you can see it's kind of squared off and that's because it began as a cube. So we're going to have to deal with that. But I think what we can do is maybe move this back a bit, scale this down, and then bring this down a little bit more like this. And that is really. What we want for the back of that headlight. Alright, so now what I'm gonna do is go ahead and apply this subdivision surface modifier and then extrude the rest out. So if I go into wireframe, you can see that that's what it looks like when we have the optimal display on. But if we turn this off, there's what we get. If we applied the subdivision surface modifier. Those are the polygons that we're going to get. And we can turn this down a bit, but I don't think that's quite enough. So what Let's do is turn this up to two. And then what I'm gonna do is go ahead and apply the subdivision surface modifier here. Now, if we go back to solid view and tab into edit mode, you can see this is what we have now. So let's go back to here. I'm going to select this edge and I'm gonna begin extruding this forward. But before I do, We probably need to get these into circles, right? So we can take one of these and we can create a circle out of this, a more exact circle. And to do that, we're going to need to add or enable an add-on. So let's come over to Edit and Preferences. Then under Add-ons, let's search for loop. Oop. And here we have an add-on called loop tools. And we can just enable it by putting a check mark here. Now let's close this and let's hit the End key to bring up this side panel. And now we have this extra tab here called Edit. And if we click on this, here's our loop tools. Now with this selected, I'm going to spin down the little circle one here. We can just click Circle. And did you see it changed more into a circle there? And let me do the next one here. I'll click here. And you can see it changes to a circle. When we do that, I'll click here and circle. And now we can begin extruding these out to create the headlights. So I'm gonna go to the side view again. And in fact, what I'm gonna do is just, I'm going to pull this straight forward. And I'm going to scale this out to be about the right size. Let's say about like this. This headlight is tilted down just a bit, but I want to create this on the global axes here, so we're a little bit off, but we can still do this. I'm going to scale this up just a bit like this. And then maybe I'll take this one. And I'm going to move it forward. Hit the S key and scale out a bit about like this. And then maybe this one, I'll pull out like this and scale out like this. And then we can begin to see if we need any others in here. And I think we do, I think we need one right in here. So I'm going to scale that out and maybe pull it back just a bit like this. And maybe I could even scale this one up just a little bit like this. Alright, let's take a look at this. Yeah, so I think we're getting there end. Now what we can do is we can go ahead and add that subdivision surface modifier again here. And we get that nice smooth shape without the polling around that single point at the back. So I think I'm going to grab these edges and scale them out a little more. I'll turn on the cage right here. Let's see what we can do with this. We get a little bit more of a rounded shape. Here we go. Now let's get this front part. And what I'm gonna do is turn off the real-time view in the view port here. I'm just going to turn that off. So we go back to as if the subdivision surface modifier is not there. I'm going to hit E and S and scale out just a bit. And I'll hit E and y and pull forward just a bit like this. And then I will scale in. I'll hit E S, bring this in a bit. Then E, Why? Pull back just a bit and then scale in a hair. Okay, now let's go ahead and turn that subdivision surface modifier back on. Now we're going to need to add an edge loop to kinda tightened this edge up. So I'll press Control R. And let's move this in just a bit like this. Then maybe I'll add two edge loops here, scrolling the mouse wheel and hitting the Enter key twice. And then I'm going to scale these out in the x and the z, but not the y. I don't want to scale it out in the y. So what we can do is press the Shift key to turn off the y-axis. I'm going to press S, Shift Y. Now it's only scaling in the x and the z. I'm going to bring that out just a bit, just to get a little bit more of a curve there. Maybe I'll add an edge right up here. Let's try that. Now let's get the lens. What I'll do is I'll tab into edit mode and alt click this edge. And now at this center point, I'm going to move the cursor to it, Shift S to, to move the cursor to that point. Now let's go ahead and use that sphere. Because that headlight lens is going to be more flat. It isn't gonna be as pointed as this part here. So I don t think we're gonna get any polling per se when we use a sphere. So I'm going to press Shift a mesh UV sphere. I will scale it down quite a bit. Let's turn it. Are X9 zero. Then I'll tab into edit mode. Let's hit the Z key, go to Wireframe, go to face mode with the three key. And then let's just delete half of it, delete faces. And now if we tap back into object mode, where we can do is scale in. So it's inside here like this. Maybe I'll move it out just a little bit. And then let's scale in the Y, S, Y. And that'll just flatten that up like that. Let's try that. X0 and solid. Maybe I'll scale it in just a bit like that. Then let's smooth it. There we go. We've got our headlight. 14. Creating the Handlebars: I think another good thing to go ahead and block in now would be these handlebars. That's another pretty prominent feature and it will help us with the size and proportion of everything. So to do that, I've brought in a couple of reference images over here. I think maybe I will give these things a name. You can select an object here in the 3D view and hit F2 to rename objects. So I'll call this headlight. And I'll select this. I'll hit F2 and I'll call this headlight lens. There we go. So we have these cleaned up in the outliner. Now to begin, I think I'm going to move this cursor back to the center of the grid with shift S1. And then I think what I wanna do is use a path the same way we did with the frame or the chassis of the bike. I think I want to use a path for the handlebars. So let's just press shift a curve path. And this time, instead of moving and scaling in object mode, Let's try it in edit mode and see how we do. I think it's gonna be helpful because we're going to mirror this over. And when we mirror an object using the modifier, we need the origin of the object in the center of the grid. So let's just tab into edit mode and make sure everything's selected by hitting the a key. And let's just scale it down. And then I will go to the front view here. And let's just hit G and move it up into here. Scale it down a bit, hit the R key. So I just want to try and get it. So it fits on this area right here. Alright, so we have it in that view, but if we've tumbled around, we really don't have it in, in, in any other view, so, well, Let's do is go back to our Quad View Control Alt Q. And now we can zoom in with each of these windows with the period key. Here we go. And let's try and get these in place. So it looks like we need to come up here a bit. I'll hit the period key again here. And let's turn it in the side view. Hit the G key, maybe, something like that. Now let's just take this end point and begin extruding for this curve here and here. So I'll hit E and I'm going to move it in the front view just a bit. And then I'll hit G and move it in the side view of hair. And then let's hit E and pull this out like this, G and pull this out like this. So these aren't gonna be exact. It kind of looks like we're going to need to come out a little beyond the reference image here, but that's okay. Let's get them generally in place. I'm going to turn it like this now, maybe move one of these like this. Now let's grab this and move this up. You can see we're just kind of fighting against each other between these two views, but we can do this. You can get it. I want to move that down like that. You're over like this. And here we go. So now I'm gonna go ahead and extend it on down like this, and then hit this one and move it out like this. So you see what I mean? When we get one in place, the others are a bit off and that's okay. That's to be expected. Let me kinda move these around and see what we have. I'll tab back into object mode and see what we think. Looking at these, it appears that this is a little bit more bent back then I have it here. And that's okay. So let's come over here. And I'm gonna begin just taking these and moving these like this. We get a little bit more of a bend out of that. All right, Let's hit the Tab key to go to object mode. I'll press Control Alt Q. And let's see what we have so far. Yeah, I think we're getting there now while we're working on this, Let's go ahead and add a mirror modifier. I think it'll help to see it on the other side. So we'll come over here at a mirror. And it comes out pretty well. Mainly because if we hit the End key, the rotation is still zeros because we've been doing this in edit mode and not in object mode. Alright, so now that we have that, let's go ahead and add the tubing to it. So let's come down here to the object data properties of the path. And let me move this up a bit, and move this up a bit. Here we go. Once again down here. Let's put this in for, let's say, and down here under the bevel, Let's put this at three. Then let's click and drag in the depth field and pull this out. I'm going to hold the Shift key down to move a little bit slower here. So let's say, let's try 0.015 here. Is that too much? That looks like it may be a little bit too much. How about 0.01? Well, that doesn't look like it's quite enough. All right. How about 0.0, 125. Let's try that. Yeah, I think that's pretty good for now. Let's do that. The next thing let's do is work on these handles. So I'm gonna kinda zoom in here and zoom in here. And we can see these. And instead of trying to do it at an angle like this, I think I wanna do it aligned to the global axes. So for this NURBS path, Let's hit F2 and call this handlebars. So we know what that is. And then I will just come through and hide all of this. Then let's just begin with a cylinder and see what we can do. Maybe I'll take this cylinder down to say 16 sides. I'll turn it in the x-axis are X9 zero. Maybe let's scale it down a bit. Let's see if we can get something that looks kind of like this. I'm going to press S Y and move it out of it. And then I think I will tab into edit mode. And let's press Control R. And I'll scroll the mouse wheel so we get two edges. And then I'll scale in the y with x and y. Let's move these out a bit. And then we may be able to extrude these out a bit. So let me just select this one and move it back. And then I'll press Alt click between two of the basis here and all Shift-click between two of the faces there. And then let's extrude these out. I'm going to press E, and then once again, I'm going to scale in the x and the z, but not the y. So I'll press S, Shift Y. And now we only scale out in the x and the z. There we go. Now we could probably do something with this here. What I'll do is I'll just inset this with the I key. Here we go. And then I'll pull that out some. We can do that again with the IK, just press I can bring that in like that. Maybe pull that out a bit. I'm just doing this part down here. And then let's extrude this and I'll hit E, push that in for that whole at the end. And I think it kind of bulges out a bit in the center. So let's just insert an edge loop there with Control R and pull this out of it. We could do that again over here if we wanted. And over here we go. So we've got that kind of bulging out there. Now let's do this metal part here. I think we just need to maybe scale in just a bit here. And then I'll just extrude, I'll hit E and pull out of it. Scale in just a bit like this. And then there's just a little bit of an edge there. So let's once again just hit the I key to inset. Pull that in and go like that. Let's try that. Now let's add our subdivision surface modifier and see how it looks. I will tab back to object mode and then smooth it. And then let's add an edge loop here to kinda tighten this up. Add an edge loop here to kinda tighten that up. And maybe also back here. Let's do that. Up. Here we go. I think we're going to need to change the finish of this because this multi-sided face here, the end gun, doesn't really work well with the subdivision surface modifier. You really need only four sides or maybe three, but not 16. Also, if you can't see this area down here, all the information about the polygons and the edges. You can come down here and right-click and turn on scene statistics. And you have some other things here too that you can turn on. But I'll go ahead and delete this face here. And then I'll just select these edges and hit E and S and scale that in just a bit like that. I'll maybe add an edge right in here. And we'll work on these indentations at a later time. But I just wanted to get this kind of cleaned up here. Let's add an edge right in here. Let's add an edge in here. And let's redo the face inside here. So let's just delete that. Delete faces, select this edge, and let's hit E S and scale in a bit. And then E S and scale in a little more, ES1 more time. And then I'll just merge these at the center by here and edit mode, pressing the M key and merge at the center. There we go. Alright, we've got the basics of our handle here. I feel like this needs to be a little bit longer. So let's just hit the three key. Go to wireframe. And I just want to grab this area here, maybe this area and pull this out just a bit, something like that. Alright, let's put it on our handlebar. I will select this edge here and move the cursor to it with Shift S2. And then I'll move the origin to that point object, set origin, origin to 3D cursor. Now let's bring everything back here in the outliner, and then let's put it in place. Now it needs to scale down quite a bit. Let's go to the top view. Hit the G key, move it into place here. Maybe I'll turn it a bit. I'll go to the side view with the three key. Let's move it up. Hit the period key to zoom in. Let's tilt it down a bit. Bring it up a hair, go back to the top view. If the G key, move this around until we think we're in a place where we kind of like it. Alright, looking pretty good. I feel like it's a little big. Let's now scale it down. And you can see since I move that origin, I can scale from that point. Alright, so now let's take that pivot point, that origin. And let's move the cursor to the center of the grid. Shift just one. Move that origin to 3D cursor. Now, if we apply our rotation control a and apply the rotation, we can add a mirror modifier, and there it is. Alright, we've got our handlebars blocked in. Maybe in the next video, we'll continue working on this area up in the front. 15. Beginning the Front Brackets: To start working on this area up here, I think I'm gonna begin with these braces on the outside. And I'll do the things that I can see and then work inward to the places that we can't really see very well. So I've brought up some reference images here of these braces on either side. And I think all we really need to do is create one, say on this side here, and then duplicate and mirror it over. And then we just need to create this one piece here. Let's give this a try. I think once again, I'm going to begin with just a polygon plane and then get this shape right here for this bracket and the hole or the slot in the center. And then add thickness to it with the solidify modifier. Alright, so let's begin here. Let's go to the side view with the three key. I think what I'm gonna do is come over here and click on cursor here. And then click right in here to put that cursor in the center of that piece, I'll switch back to the Move tool now. And then when we press Shift a mesh plane, it'll drop in at that cursor. Now, let's bring it down quite a bit. I'm going to take the size from 2 m down to 0.1. And then let's turn it in the y-axis. We can of course press RY 90, but also we can press R and y and then hold the control key down. And then in the upper left-hand corner of the screen you can see the degrees as we snap in five degree increments. So we've got 65 and there's 90 degrees right there. Alright, so we've got that. Let's now bring it forward to where we want it. So if I hit the Z key and go to wireframe, here's that piece right there. I'm just going to bring it out right about there. And it looks like this is slightly tilted in slightly angled, but I'm not going to deal with that quite yet. Let's go back to the side view and I'll scale it down quite a bit. And then I'm going to turn it with the R key. And then I'm going to switch over to local transformation here from global to local. And notice what the move gizmos did. Now they're in line with that object. And you can change this menu here by pressing the comma key. And then you've got all the same things here. You've got global, and then you've got local there. Okay, so now when we scale it and we choose an axis, we need to choose it based on this local transform, gizmo, and not on the global one here. So if I want to scale it out in the y or make it a little bit wider, I can press S Y and it will go this way. There we go. So let's bring it out to about here. And then I'll scale in the x sx. Let's bring that up to about here, let's say. And then if we tab into edit mode here, and let's add a couple of edges along the length of it. So let's say three edges here. I'll scroll the mouse wheel like this. No, How about four? Let's do four. I'll hit the Enter key. And now that I have these selected, let's press Sx and pull them out just a bit. Then I will reduce the selection by pressing Control and the minus key on the numpad. And now we've just got these selected and then Sx. And I'll hold the Shift key down. You can see what I'm doing. I'm just trying to get that curve on the top and the bottom. There. There we go. Now, what this also does, let me go to wireframe. It gives me some edges to create this inner slot. Now it's not gonna be quite as wide as it is here. And that's okay. I'm not going to fuss about that too much here. I'm just going to press Control R. And I want to bring this like this. And notice that as I get it closer to the edges, see how it curves to fit the edges. And I don't really want that. I want it to stay straight. So one thing I can do here is just hit the Escape key or press the right mouse button and it'll go flat again. And then I can just drag this like this. So I'll put it right here. Now, the other way we can make this flat, let me press Control R and bring this down like this. The other way we can make this flat is if you look up in the top left-hand corner of the screen here, where it says edge slide. And you can see it says Even equals off, right? So if I hit E to turn even on, now it's even with this edge here. And up there now you can see it says flipped off. And if I hit the F key to turn flipped on or off, it curves and then it straightens up. That's another way to make your inserted edge loops conform to the end or go flat. So that's the E key and then the F key. So I'll put this right down here. Now, if we go back to Solid View, I can hit the three key, go to face mode and then delete this face here. So with that done, let's come back over here to the modifiers panel. Let's click Add Modifier and click on solidify. Now let's choose even thickness here. And let's make sure that our scale is uniform. Before we finish up with the solidify modifier, I'm going to press the N key. And in this panel we can see that the scale is non-uniform. But the solidify modifier is another one of those tools that uses the scale to run the tools. So I'm going to apply the scale and see what happens. Let's press Control a and apply the scale. Now look at that. That's actually 0.01 m. So now let's take this and drag it down. I'll hold the Shift key down and let's drag it down to where we think it should be. Maybe about like this. Let's see. I almost feel like we can go 0.0, 025. Yeah, something like that. That's pretty good. Okay, so we've got that basic shape. Now let's work on these little cylinders here. We just need to bring in a few cylinders here in here. So let's do that. I will go back to the side view again. Click on cursor. Maybe I'll put this here. If we go back to wireframe, we can see it here. So yeah, maybe right in here, let's say something like that. Alright. Now let's bring in a cylinder, shift a mesh cylinder. And for this, oh, let's put it at say 24. And then I'll type in 0.1 and 0.2 m to shrink it down. And in addition, let's change this from n gon to triangle fan here. Let's try that. Alright, so now we can scale this down quite a bit. I'll change back to the move tool here. Let's turn it in the y-axis, our y90. I'll go back to wireframe and let's scale it down to fit. And a right inside this piece right here. Yeah, something like that. Then let's bring it over to where we want. It probably wants to fit right in here somewhere. Let's go back to the global transformation. Or we can of course, hit the Comma key and go back to global. And there we go. So now let's scale in the x to bring this in like this. Then we can begin working on this area here. So we tab back into edit mode. I'll press Alt a to deselect. And now I want to select all of these faces. For me. Probably the easiest way to do that is to hit the C key, to turn on the circle select tool, and then click and drag and paint the selection, and then right-click to get out of the tool. Now we can do, is do a little extruding to get this basic shapes. So what we can do is say, Hit the I key to inset just a bit like this. And then let's hit the E key to extrude and push in just a bit. And I'll hit the S key to scale in. Maybe let's pull that back out just a bit. And then I'm gonna go all the way in here. I'm going to hit the I key, go all the way in like this, and then hit E, pull out just a bit, maybe something like that. And now let's get this little piece right here. So EIS scale out and then E and pull out a bit. I will scale in just a smudge. Like that. Let's hit the I key again. And then E, pull out S scale n. And let's do all this again. Let's hit the I key, and I'll push in. And then let's get this little piece here. So let's just hit E and pull out, and then S. Maybe push it back a bit. E, pull out S. And we can keep doing this. We can also just hit the I key and then pull out icky and pull out like that. And then maybe we could go in. I'll hit the period key on the Num pad and just select that one little point and pull that out a bit. And there we go. Let's maybe try and smooth this and see what happens. I'll right-click and Shade Smooth. And then let's come over here to the object data properties right down here. Let's twirl these up. And under the normals section, let's turn on auto smooth and see what happens. Yeah, That's kinda nice. That helps out a bit. I feel like that this piece could come out sum. Let's try that. Yeah, there we go. Alright, so we've got those pieces in the next video. We'll continue working on this brace and maybe even duplicated and flip it over here to the other side. 16. Continuing the Front Brackets: Now let's work on this part right up here. I think what we need is just another cylinders. So let's once again go to the side view. Let's hit the Z key, go to wireframe, and I'll take that cursor and put it right here generally in the center of where that cylinder is. You can also click and drag the cursor and drag it around to where you want. So I'll put that right there. Alright, now let's go ahead and create another cylinder, shift day mesh cylinder. We will scale it down. Let's turn on the move tool again. And we can see, let's turn it into y axis RY 90. Then let's get it down to size, the side view, and then let's scale it down to about right here. Now let's take a look at it. In terms of placement and the width, we might want to scale this in the x just a bit. Move it back like this. So we're getting this piece right here and it's kind of sticking out here. So now for this part here, what we could do is we can tab into edit mode. And once again, we could select these faces here with the C key, the circle select tool, and drag select those. And then what I'm gonna do is just duplicate this off. I'll just press shift D and press the X key and move it out just a bit. And then I'm going to extrude this. So I'll hit E and just pull this out like that. And it looks like it's a little bit smaller. So let me just hover over this and press the L key to select only linked components there. And I'll scale that in just a bit. Maybe we can move it back a hair. There we go. And now let's work on that bolt. That bolt is really just a cylinder that only has six sides. So let's just do that. Let's select this point and move the cursor to it, shift S2. And then we'll press Shift a mesh cylinder. Let's change the number of sides to six. And then let's scale it down quite a bit. We'll turn it into y or y90. And then let's scale it in the x. Bring it out a bit. And how's that for size, it's really not too bad there. I think that could work. Okay, Let's turn it. I'll press RX and spin it a bit so it isn't just exactly on axis. And then let's create a cylinder right in the center. In fact, what we could do is just select this one back here. I'll just hit the L key. And let's duplicate this shift dx. And then let's scale it down. And let's put it in. Here. We go. Let's now smooth that I can select this and right-click and shade smooth. And that's maybe a little too much. Let's turn on auto smooth here. Yeah, that smooths the sides without taking away the edges. And now there's that one little thing right down here. These little clips kinda looks like a flower on most these little clips here, I think I'd like to do that. Let me once again move the cursor. I'll select this and just select that one point in the center and press Shift S to, to move the cursor to that. And then let's create a polygon plane, shift a mesh plane. Let's turn it in the y-axis, RY 90, and I'll scale it down quite a bit. And then I'm going to move it into here. Move it up like this. So it's kind of like that. We go, let's try that. And then I'll tab into edit mode. Let's press the two key to select that edge. And I think I'm just going to drag it up like this, scale it in and then pull it back, some like this. Now I'm just going to add a couple of edges to get that kind of curve to it. So I'm going to press Control R. And let's add an edge right in here. I'll pull it back and pull it up, some like that. And then let's do the same here. And I'll pull it in like this. And maybe I'll take this down a little bit more. And then maybe, you know what, maybe these points, we could bevel these points. Because just like we have under the edge menu, we've got bevel edges. Under the vertex menu, we've got bevel vertices. So let's tab into object mode and let's apply the scale here. Control a, apply the scale once again because the Bevel tool is another one of those tools that uses the scale to run properly. So now whereas the bevel edge tool here is Control, be, the bevel vertex tool is Shift Control B. So let's do that. And then let's pull this out like this, scroll the mouse wheel. And then we have a curved edge there. Alright, so now that we've got that, what Let's do is let's just add the other three. So what we can do is move that origin to 3D cursor that's still there in the center. I'll come up here. Change from median point to 3D cursor. There we go. Now let's duplicate and rotate this. So this press Shift D and enter, and then R9 zero. There we go. And I can do that because I'm here in the right orthographic view. Otherwise I'd have to press RX 90, but let's press shift D again. Enter our 90.1 more time, or 90. There we go. Now let's take those and turn them just a bit like we did before with the bolt. I don't like things being perfectly on-axis. Humans don't usually do things that way. So let's go back to the side view. I'll press R and just kinda turn it just a little bit like that. There we go. Alright, so now before we mirror them over to the other side, let me take a look at this from the front. And do we need to angle this at all? We could let me change the pivot point back to median. And just like we can change this menu with the comma key. Here, we can change this menu with the period key right here. So I'll change to median point. And then maybe we hit bar is turn it just a little bit like this. And I'm going to leave everything else in line with the global axes and just turn this just a little bit like that. Let's try that. All right, Now that we've got these pieces in and before we mirror them over, Let's join these together into all one object. When we do that, when we joined pieces together, we need to make sure that all of the modifiers are the same or they've been applied. So the one object we have a modifier on is this one. If we come over to the modifiers panel, we still have a solidify modifier on this. So let's go ahead and apply this year. Now, it's all polygons. It's all one object, it's all one thing. And all the other things, all the other objects here do not have a modifier at all. So all of the modifiers stacks are the same now. Therefore, we can go through and select everything. I'll just go through and select all of these pieces, this and this. And now let's join them together. And to do that, we can come up here to object and join or press Control J, or Control J. And there we go. Now, when we did that, the smoothing kind of got a little weird here. And that's because we didn't have auto smooth turned on for all of the objects. If we click here, we can turn that back on. Now, if it isn't quite the way we want it, we can click and drag in here and drag up the angles that we want to smooth, right? So if we want those smooth there, we can drag that up to 83, right? And what that does is it cleans everything up. But we lose some of the definition in here that we had. Because if we click and drag back down like this, there's the way we had it here at about 40 to this I kinda like, but I don't like the angles or the edges there on these tabs. So I can drag up to clean up the tabs. But then we smooth out this piece a little too much. So how do we fix that? Well, what we can do is we can add sharpness to certain edges. So if we tab into edit mode, maybe say this edge here and this edge here, we could make sharp no matter what smoothing we apply to it. So no matter what we do here, these are always going to be sharp. To do that, we can bring up the edges menu with Control E and click on Mark sharp. There we go. Now if we tap back into object mode, you can see we've got those edges back. And in fact, I could even maybe take this one and do the same thing. Let's try it for this one here. Yeah, see, I like that. Okay. So that's just a way to be able to adjust your smoothing if you've got kind of a conflict between different parts of the object. Alright, so in the next video, what let's do is duplicate this, mirror it over, and then create this piece right here. 17. Finishing the Front Brackets: Now one last thing before we mirror this over, I just want to get this little piece right here. It looks like it's kinda sticking out from the back of here. So let's go to face mode with the three key. And then I'll press C for circle select, and I'll click and drag and paint that selection here. Now let's hit the I key to inset like this. And then we'll just hit E and extrude out like this. Alright? And it looks like it's curved here on the edge. So we could go to edge mode and alt click this edge. And then we could press Control B to bevel this out and kinda curve it. But look at how it's beveling. It's kinda flat there. So once again, this is our scale, I believe I'm going to press Control Z and tab back into object mode. And sure enough, our scale is not uniform here. So let's press Control a and apply the scale. Now we've got all ones here. Let's try this again. I'll press Control B. And now look how much cleaner that is. Yeah, that's kinda nice. So it's just more centered on that edge when we did the bevel than it was when the scale was non-uniform. Alright, so now we've got a piece here that I think we can mirror over to the other side. However, I don't want to use a mirror modifier for this. What I'm gonna do is use the mirror tool. It works in a similar way, but it makes it permanent right off the bat, whereas the mirror modifier is not a permanent thing, so you can still adjust one side and the other side comes along. This I feel like I'm pretty much all done with, so I'm just going to duplicate it and mirror it over. But when we do the mirror, it's going to mirror around the pivot point. And we still need to move that into the center. So what let's do at least temporarily, Let's move the 3D cursor to the center of the grid with shift S1. And then what we'll do is change the pivot point here, the transform pivot point from median point, or where the origin of the object is to the 3D cursor. There we go. Now, that doesn't move the origin of the object. That just moves how we're transforming it from this point from the 3D cursor. So now we can duplicate this shift D. There it is. Now let's mirror it over with Control M, and then press the X key to mirror in the x-axis. There it is. And then press Enter. Alright, now we've got our two pieces, one on either side, and it is actually two pieces, it is to objects. And now we can work on this piece right here. So to do that, I'll tab into edit mode. I'm going to press the L key to select each one of these little tabs and hit Delete and delete faces because we don't need those here. And now let's create this piece right here. It's kind of a four pointed knob. So I'll tab into edit mode and just select this one point right in the center. Let's move the cursor to it, shift S2. And now, what kind of shape do you think we should create here? What kind of a polygon Primitive should we create to begin this object? Well, I'm going to start with a cube. So let's press Control three to go to the left orthographic view. And let's bring in a cube, shift a mesh cube. Let's take it down to maybe 0.1 m. And let's scale it in the X a bit. Actually, I'll scale it down some here. Maybe let's see how big it is. I'll press the Z key and go to wireframe. And it looks like there it is there. So we're a little bit off. But I think it's about this big here. Let's try that. And then I'm going to scale on the x. Bring it in about like this, let's say. And I will move it out until it hits right about here. So we're not going to really change anything underneath there. I don t think we need to we could delete that area, but for now, let's just go ahead and leave that as is. And I think I'm going to try and create this shape using the Bevel tool. So once again, let's apply the scale. So we have a uniform scale there. I'm going to press Control a and apply the scale. Now we have all ones. And then if we tab into edit mode and hit the two key to go to edge mode, I'm going to select these four edges right here. Let's do that. And then I'm going to press Control B to bevel the edges. And I'll pull the mouse in like this. Like that, maybe right about here, Let's say. Now I can increase the number of cuts, but more importantly, I can change the shape. So if I click and drag in the shape, look at this, I can take those in like that and now we're beginning to get that shape of that knob. So maybe I'm going to hold the Shift key down to move a little slower. Maybe something about like Yes, let's say let's try that. There we go. Now I could once again increase the number here to get a cleaner curve on those. And then what I'm gonna do is just select these edges here. And we're going to bevel these going in the other direction. So let's grab these and then press Control B. Pull out like this, scroll the mouse wheel to reduce the number of sides there. And then I'll click. And let's change the shape here to going out like that, about like this. Alright, so there we go. Now, I feel like that's a little too thick. So let's scale in the x just a bit like this. Something like that. Okay? And then I want to curve these edges here. I think I want a bevel, this edge and this edge. Let's do that. Control B, and let's pull those in a bit like that. Yeah, Let's try that. And then I want to make these right in here. And I can't really do that off of this. I'm going to have to create a new object, put it on there, and then join it together. So let's select it. I'll just select this base here and let's move the cursor to it. Oh, I need to change back to median point. There it is. Let's press Shift S two. And then at that cursor, Let's create a sphere. Let's create a sphere and use that to begin here and then extrude out to get the rim around it. I'm going to press Shift a mesh and UV sphere. And let's take this down to maybe 16.12. We don't need quite as many segments and rings there. Let's take the radius down to 0.1. And let's now turn it our y90. Let's cut it in half. I'm just going to tab into edit mode. Let's press Alt Z to be able to see through it with x-ray. And maybe I'll go to the front view here. And let's just click and drag and delete this half, delete and delete faces. Then I'll press Alt Z again to go out of x-ray. And let's scale this down like this. Let's flatten it in the x Sx and I'll bring that in like that. Now let's bring it in and put it in here in the center. Maybe I'll scale it back out in the x just a little bit like that. Take that and let's bring it in writing here now that's a little too big. Let's scale that down. Bring it in like this, just above there like that. Maybe I'll scale it down a little more. Alright, so now let's just take this, select this outer edge. Let's press S and scale out. And then let's do that again, E S and scale out like this. And then what I'll do is just press Control R. But that right in here. And then maybe two in here. And I'll select this edge Alt click between two of the faces. And now let's just pull this out some like this. We could take this edge and bring it in. So maybe scale it in a bit like this. We could add another edge here and pull it out, maybe like this. Right? So we're getting that basic shape like that. Alright, so let's just take this edge and maybe EX and pull it back. There we go. Maybe it needs to be a little bit bigger. Smooth it. Here. We can try smoothing this. Yeah. We could combine them together to, let's take this and this and press Control J. We go, we may want to use our subdivision surface modifier on that and then smooth it. So that looks a little bit better. So it just depends on what we wanna do there. And a lot of these decisions are gonna be made once we actually get everything in and see how we want to combine things, see what objects we're going to combine with each other to work on the materials and the texturing. But our main task now is just to get all the pieces in. And actually now that I think about this, what I wanna do is take these two pieces here and tab into edit mode. And I just want to grab that point and this point and move the cursor here. Shift S two. And then let's just create a cylinder across here. It looks like we have one here. So Shift a mesh cylinder. I'll remove the cap fills here. We've got 16 sides. I think that'll be fine. Ry 90. Scale that down. And let's take a look at it here. Scale it down, maybe about like this, and then press Sx, scale it out. Now let's take a look at it. And we could probably smooth it. There we go. Yeah, I think that'll work. Alright, so we have that front bracket. I think that's going to help us now as we try and place other things in here, both the pieces up here and going down to the center of the front tire. 18. Beginning the Horn: For the next piece up here in the front, let's work on that horn. I've got some reference images over here. But let's first clean up the outliner a little bit. Now, maybe these pieces here, I think we can take these and we can put all of these in a collection on their own. Let's just press the M key and select new collection. And we'll call this bracket front. We'll just do that. We may want to ultimately join all this together or split them apart in a different way. But for now I think that'll work just to clean that up. We can also do a handlebars collection. I'll press the M key and New Collection and let's call this handlebars. And then the rest of this. Well, we could create a collection for the headlight, but I'm about to use that I think so. I think I'll leave these out. And what I mean by use this, I think I'm just going to duplicate the headlight and bring it down and change the shape a bit for the horn, mainly because I can't find any of my reference images that gives me a good look at the back of that horn. I don't really know what the shape is back there. So I'm thinking because of that, I can make any shape I want. Therefore, I'm going to try and keep my life fairly simple by just using what I've already created. So I'm going to press Shift D and Z and bring this straight down and go into wire-frame here. And I'll scale this down quite a bit. Maybe something about like this for now. And I will just scale this for now. This part, I want to scale it in the y-axis, but I want to do it from the front. So let's tab into edit mode. And maybe I'll just select this edge right here. I'll Alt click and select that. And then let's bring the cursor to this, shift us to. And then if we just take this and move the pivot point to the 3D cursor. Let's do that. We can pull this down and choose 3D cursor. And then I'm going to scale in the y-axis. So let's do that. S why bring that in about like this, Something like that. So it just has that general shape there. And then this piece, I'm going to do a similar thing. I'm going to press S Y and push it out just a little bit. It looks like it's a little bit more curved out than the headlight is. So let's do that. And then let me just take this and hit the R key and turn it and see if it's about the right size. Yeah, I think that'll work pretty well. So for the rest of the work on this, I think I'm going to hide everything else. Let's take these two and let's call these pieces horn base. And I'll just call this in front for now. These are just so I know what they are. And then let's just hide everything else. I will just click and drag all of these, and I'll even hide the reference images. Alright, so now we've got this piece and what I wanna do is create these holes in the front. And to do that, I think we're going to need to use the Boolean modifier and I'm not going to create every single hole in this and every little detail. Just want to give the impression that we have the horn here. As I've said, I'm not trying to create an exact engineering replica of this. We're just using this particular vehicle to explore blenders tools. So if I take this, let me go to the side view and I'm going to change from global to local and also I'm going to change back to median points. So our move manipulator is on the origin of that object. And I'm just going to move this out a bit. And then I want to take this edge and I'm going to extrude and scale out just a bit. Then let's move this back in here to about like this. And I just want to kind of bring it over the edge like we see here. So kinda scaled down, bring it back ES, bring it back in the z scale in a bit. So you can see I'm just kind of bending this over that rim. That's all I want here. Something like this. There we go. So we've just got that covering the rim. And then let's build these holes. And to do that, I'm going to want to create a cutting object, and I want to use the Boolean modifier here in Blender to cut these holes into this piece. So there's a couple of things we need to deal with. First of all, it's very hard for the Boolean modifier to work well, I think. With a very thin object, with just an object that has no thickness. So I feel that we need to add some thickness to this before we do any cutting. So I'm going to use the solidify modifier for that. Just come over here and add that there. Now, if we hit the End key, our scale is not uniform here. So let's go ahead and apply our scale with Control a, and apply the scale and you can see how that changed there. And now let's bring it back down. I'm gonna click and drag and bring it down quite a bit so it isn't quite so thick. I mean, just bring it down and I don't want it to come back through like this. But just a little thickness about like that. Let me tab into edit mode and see how that looks. Yeah, we've just got a little bit of thickness there. That's all I want. Alright, so with that done, I'm going to click on even thickness. And then I'm just going to apply it. I'm just going to come over here and pull this down and click apply. And so now what we have is this object with a little bit of thickness to it. And that's going to help with the Boolean modifier. Alright, now that we have these, let me bring this down and I want to take these two and put them in their own collection. Now press the M key new collection and call it horn. And now we can take that headlight there and do the same thing with this. I'll just select these two and we'll call this headlight. Okay, so now we've got that cleaned up. I'm going to hide the horn now. We're going to create the cutting object that's going to cut the holes into that cover of the horn. So let's press Shift S1 to move the cursor back to the center of the grid. And I'm going to hit the seven key to go to the top view. And all I wanna do is create a cube, shift day mesh cube. And let's scale it down quite a bit. I'll scale it in the, well, this is the y-axis here, but let's go back to global and that'll be a little bit easier. It's still the y-axis, but it'll be a little bit easier to keep track of here. So I'm going to press S and scale down like this. And I'm just creating this hole right here. And that's all I wanted to do. So maybe it's something about like this. And then I'm going to tumble around here. And we have some thickness in the z-axis and we're going to need that. So now I'm going to select these edges here on either side. Like this. I'm going to go to wireframe and I want to bevel these edges. However, I need to make sure that our scale is uniform and it is not. So let's press Control a and apply the scale. Alright, tab back into edit mode. And with these selected, I'm going to press Control B and pull out, scroll the mouse wheel a bit to get a few edges on here. And I'm just trying to make that curve on either end of that hole. Something about like that. Let's take a look at it. So what we're gonna do then is I'll just move this over here like this. And we're going to duplicate this to create cutters for each of these holes and will need to create some curved ones up here for these. So we will continue with this in the next video. 19. Finishing the Horn: Continuing on with the horn here, I'm just going to duplicate this down Shift D y and move that down Shift D Y and do that again. And then these down here are a little bit smaller, it looks like, but I'll just press shift D Y and bring this down like this. And then let's tab into edit mode and in vertex mode, let's just grab these and move them in about like that. And then let's duplicate this if d Y and move that down. And maybe this one could be a little bit smaller. Let's see, something like that. And then let's get the next row shift dx. I'll put this here and maybe we can grab these and move these out. Then let's shift D y here to duplicate. Maybe a little bit further in Shift D. Why? This one looks like it needs to come in a bit. We'll duplicate this one and bring it in some like this. And then let's do one more here. Shift D, why I'm bringing this in like this, something like this. And I guess we need another one down here. Let's do that. And I'll take this and move it out. And then I'm going to scale it down and move it up. Just a bit like this. I think that's what we're seeing here. So something like that. Alright, so now we could take all of these and join them together, Control J. And then let's do the top part up here. And for this, for these curves and for the curves all the way around, maybe we should use a circle. So I'll press Shift a mesh circle. And let's scale this down to get it about where we want it. Maybe something like this. And then if we tab into edit mode, there's the points and let's just hit E to extrude and then S to scale and scale in a bit. And then we're going to need to delete some things. So maybe we delete these here for this space here, and then we delete something like this here. Well, maybe like that. Trying to figure out where to put the spaces between these curved ones here. I think maybe like this since there, for each here. Let's do that and we'll also do the ones over here on the other side like this. And then we delete and delete faces. Okay, now let's take those, go to the side view and let's bring them up to where these are. And then hit easy to pull them down, up. Let's hit Z again and then bring those down like that. And then we kinda need to round out the corners of these. So let's tab into edit mode and just select all of these edges all the way around these. And I think that's up now. We've got one more here and one more here. Now I think that's it. Okay, Let's go back to object mode. Our scale is uniform, but it isn't ones. I'll go ahead and press Control a and apply the scale there. And then let's just press Control B here in edit mode and scroll the mouse wheel and pull out for those rounded edges like that. And then back to the top view with the seven key on the numpad. And we will just grab this one with the L key. Press shift D and we'll move this down like this. Then Shift D y. I'm going to scale it in some, move this down like this. And maybe one more very small one down here, something like that. And then we probably need to make these the same height as everything else. Yeah, so they're a little bit smaller. So let's just bring this up to here. Bring this up like this. Bring that up. So you can see I'm just trying to get these in line. That's all. Maybe I'll take these and bring them down. These and bring them down. Nice and bring these down like this. Okay. I think that helps there. Now that we've got these in place, let's mirror them over. So for this, let's mirror this over. I'll move the origin to 3D cursor, add modifier mirror. And there we go. Now for this, they are still part of that circle on the outside. We could do this a couple of ways. We could select each of these and split them off into their own object. We can also take these and delete them and then mirror the whole thing over. So just really depends on what you want to do. I'll just go ahead and delete these. And then it looks like our origin is here in the center. So let's add a mirror modifier here. And there we go. Alright, so now we've got our cutting object. Let's first of all apply the mirror modifiers here. Then let's join everything together into all one object with Control J. You could probably smooth it and then turn on our auto smooth down here. There we go. We could probably take it and maybe make it a little bit taller as z, something like that. Now let's try and cut these holes into that foreign object. I'm going to change the name of this to cutter. I just like to use that term for this particular kind of thing. So we know what that is. And then let's bring the horn back. There it is there. I'm going to shrink this down quite a bit and turn it. And I'm going to hit the G key and bring it up into here. Now, I'm going to scale it down so it's the proper size. I will change from global to local transformation. Let's take this and move it right into here. And I want to scale it down a bit so it fits in there. Now what Let's do is let's actually do the cutting. I think I'm going to apply the scale to the cutter object. Control a apply the scale. Looks like I've got the scale applied for the horn object. So with that horn object selected, I'm gonna come back over to the modifiers panel, and I'll add modifier and add a Boolean. Now, we've got three different types of Boolean operations, but I'm gonna go with difference. And we need to tell the Boolean modifier what object we want to do the cutting. And since we've named that Cutter, we can just pull the menu down and choose that here. With this object still selected the horn object. I'm gonna go over to the object data properties and turn on auto smooth. And that cleans that up quite a bit. And then what we can do is go back to the modifiers panel, pull this down and click Apply. Alright, now let's pull the cut her out and take a look. Okay, yeah, let's put this back onto here. I'm going to hide this. I'll just click there. And then let's bring everything back and take a look at it. I'm going to unhide all of these. And this. Let's see what we think. Yeah, I think it's coming along. So for the next video, let's work on these springs here on either side of the horn. 20. Modeling the Front Coils: Well, the next thing I'd like to work on in this collection of objects up here is this spring are actually these two springs coils. I'd like to work on those. And what's interesting about them, I think, is that they're kind of tapered. Let me close this one here. I'll right-click and choose join areas and then bring this up to here and click there. And then let's zoom in here. And you can see that it kind of tapers in, alright, kind of a triangular shape to the spring and the spring, the coil isn't really that difficult because really we've got a screw modifier here. But in addition, I think we want to also try and use a modifier to taper that. So let's first of all begin with the coil. And to do that, I'm going to hide, well, first of all, I'll bring back this cutter and I'll delete it. I don't think we need that. And then I'm going to hide everything including the reference images for now. And then let's begin with a circle. So I'm going to press Shift a mesh circle. And we've got 32 sides to this. I think I'm gonna take that down to 16. And let's turn it in the x-axis. I'll press R X non-zero. This is gonna be the diameter of the coil's going around. So just going to go to the front view. And I'll scale this down a bit. And I'll pull it over to one side. And the trick is to try and figure out how wide we want these to be. And I'm going to begin right around here. The next thing we need to do is move this pivot point. Now we can move the pivot point, of course, by going up to object set origin and move it to the 3D cursor. But even if the cursor isn't in the origin, we could click here and then click and drag and move that cursor off of that origin. Even if it isn't there, we can still apply the location in the same way that we've applied the scale and the rotation here, we can apply the location and move that origin into the center of the grid. So if I press Control a and apply the location, there we go. Now we have that origin in the center of the grid. And that's the point in which these are going to spin around to create the coil. Alright, now that we've got this and it's selected, let's come over here to the modifiers panel and click on the screw modifier. And that's not quite what we want. So let's change it from z-axis to the y-axis. And there we go. That looks a little bit better. Now we need to turn it from a donut to a coil. And we can do this with this screw setting here. We can click and drag and bring that up like that. Now, it's pretty much like an array modifier. We're just going to increase the iterations here and go on up to create the coil. So let's bring the reference images back. And then we need to hit the S key and scale this way down. Let's then see if we can put this in place. I'll scale it down a little bit more. Hit the G key and I'm going to move it right over here. Scale it down some more. Maybe it'll hit the Z key and go to wireframe. And I'll turn it a bit. Let's scale it down. And I'm just trying to figure out how big this needs to be, how big this should be. So if we get it about this wide out, the problem that I'm seeing is that these coils I feel like are a little too big. To me. These seem a little bit well, maybe a little bit thinner, but certainly closer together. Well, we can do is to bring these a little closer together. You can click and drag on the angle and that will shrink that up or pull that out like this. Another thing you can do is to shrink or increase the size of the diameter here of our circle. And that circle is still right here. To get to that, we can tab into edit mode and you can see that right there. If we hit the one key, you can see the points. Now we can hit the S key and scale that down or up until we get it the way we like it. So let's just say that it's about like this. Maybe a little bit smaller, like that. And then click and drag on this to make it a little bit tighter like this. And then if we tap back into object mode, we can scale the whole thing up or down. So you have a couple of different ways that you can manipulate this. I'm going to hit the R key and tilt it just a bit. So it's kind of in line with that. Now that we've got it in place, let's increase the iterations. I'm just going to click here and increase this up to about right here. So something like that. Now, as I said, it looks like these coils kind of taper up to the top here, gets smaller as we get to the top. So we can kind of replicate that it isn't gonna be perfect, but we can do a pretty good job of simulating that by coming over here and adding another modifier, the simple deform. And when we do that, we get that, which isn't quite what we want, right? First of all, we want to come over here and click on taper. Let's do that. And then we get this, and that's not what we want. We should probably click on the y-axis here. There we go. Now we're beginning to get something like that, except it's going the wrong direction, right? So what we can do is click and drag in the factor and bring this down. Now, I'm just gonna go ahead and type in zero to begin with it like that. And then let's just click and drag and drag that top part down. You can see we can bring it down some and I don't want to bring it down a whole lot. Just a little bit like into the negative territory just a little bit. And the reason why I don't want to do a whole lot. If you take a look at it, what it's doing is it's actually collapsing the coil so you can see it's just getting flatter and flatter. And we don't really want that. So maybe I just want to bring it in couple of times here, maybe like 0.1. Let's try that. See if we can see that taper there. Yeah, I think that's a good enough taper without destroying the circular part of the coil there. Think that's pretty good. Alright, let's see about placing it from the front view. It looks like it's inside the bracket. Right? Here's the bracket here. Maybe inside that. And behind the horn. Let's try that. Maybe I'll move this up and I am in local transformation mode here. Alright, we've got that. That's pretty good. Now I think we just need to mirror it over. And to do that, I'm going to first of all move that cursor into the center of the grid again with shift S1. And then I'll change our pivot point to the 3D cursor right down here. Now let's try and mirror that over. I'm going to duplicate it, Shift D and enter. And then I'll press Control M, hit the X key and enter, and there we go. So now we have them on two sides. Okay, Let's bring the other things back here. Let me do that and see how it looks. Yeah, I think that's actually pretty good. One thing we could do as well is add that poll. It's in the center here. It looks like we've got something that goes all the way up and down here. So let's take one of these gears, that origin point right in the center of that. And let's move the cursor to that with Shift S two. And then let's create a new cylinder. Shift, a mesh cylinder. Let's take it down to 16 sides. I'll type in 0.1 and 0.2 here to shrink it and will take away the cat bills by choosing nothing from the menu. And then let's scale it down pretty far here. And maybe turn it just a bit. There we go. And then what we could do is just select, I'm going to press Alt Z to go to x-ray. And then let's just select these points here. And I'll go back to local transformation by pressing the comma key and going over here and clicking on local. And now that puts the z-axis here along the local orientation. So when I press G and Z, that just brings it right straight up like that. And then I can tilt it down a bit. I'll tap back into object mode, the archae and tilt it in just a bit like this. There we go. Let's see how that works. I'll press Alt Z to go back. We can right-click and shade, smooth it. There we go. Yeah, I think that's pretty good. So now let's just take that inner cylinder here and basically do the same thing that we did before. Go back to global. Then we'll move that 3D cursor to the origin with shift test one. Change our pivot point to the 3D cursor. And here we go. Now we can press shift D Enter, Control M, X Enter. And there we go. Now we've got the two poles in the center of the coils. 21. Adding Detail to the Horn: Well, let's dig into the details a little bit more with this front end here. I don't wanna get too lost in the details though. We are creating an artistic representation of the motorcycle, not an engineering reproduction. But I think it is fun to get some of these details in here. It can really add some realism and flair to it. So I think I'd like to work on these little things right on the top and the bottom of the horn. And they connect to the vendor here. So I think I'd like to just work on something like that. Before I do though, let's grab the coils, the things we just created there, press M and create a new collection and we'll just call this coils. So that just kinda cleans up our outliner a bit. So I think with these little pieces up here on the top and bottom, I'm just gonna begin with a polygon plane, kinda like we've done before. And maybe I'll bring the cursor to this object origin with shift S2 and then press Shift a mesh plane. Maybe we can take it down to 0.1 meter. I'll turn it in the x-axis with RX 90. Let's do that. Let me go to the front view here. Scale it down a bit. And let's see what we can do with this. So maybe something. I'll move it back here. We can see it in the side view as well, right in here. So let's get that in place. I'll hit G and kinda tilt it a bit up. We currently have our pivot point at the 3D cursor here. So what we can do is press the period key and change back to median point. Here we go. Now if I hit the R key, it'll turn at that point there. So I'm gonna put this right about here. And then I want to bring that bottom edge up. So let me just select this edge. Let's hit G and bring this up, something like this. And then I think I need to curve this a bit. Let's see. I'll press Alt Z to go back to Solid mode. And yeah, I think I need to curve this just a little bit because you can see it sticking out in there. So what I'll do is just add maybe three edges in here with Control R. And then I will press Alt Z, selected these points here. And then I'll hit G two times to slide those points along these edges here. I just want to slide them up. And let's take a look at how that's doing. Yeah, So maybe that's a little too much. I'm going to press Control Z. And let's try that again. G2 times I'm a slide that up like this. And then maybe just take this one and hit G2 times and slide along that edge, that existing edge there. So we just kinda hide that up in there a little bit better. Then I see that there's a bit of a curve here. So let's take these vertices here and let's bevel these. But before we do that, let's be sure that our scale is uniform. It is uniform, but I'm gonna go ahead and press Control a and apply the scale to get it all to ones. And then if we tap back into vertex mode, recall that to bevel a vertex is Shift Control B. So I'm going to press that and then pull out, scroll the mouse wheel a bit and get it something like this. There we go. Now that we've got this, Let's add a solidify modifier to it to give it a little bit of that thickness. Come over here, modifiers panel solidify. We've already applied the scale, although I just changed the scale now it didn't eyelids hit Control a and apply the scale again. Now we go and let's choose even thickness. And I'll click and drag and hold the Shift key. And let's move this down. Maybe about like that. So we have a little bit of thickness there. Alright, the next thing let's do is these little screws. I'm not going to do the slot, so I'm just gonna do the curves there. But before we do that, we ought to do this strip. So let's do that. I'm going to press Shift a mesh plane, are X9 zero. Let's bring it up and shrink it down a bit. Then let's press S, z. And let's see if we can get this about the right size. So maybe something about like this. Now, is it curving out a bit? I can't really tell if it's curving out. It feels like there's a little bulge on the front of each of these. I can't really tell, but if we're gonna do that, we ought to do it now while we only have quad. So maybe we could. Add a few edge loops here, pull this out just a bit, and then add, and then pull that out just a bit. Just to give us a little bit of a bulge there, a little bit of a bend to that. And then let's go ahead and add those curves on the end. We can do that with our vertex bevel with Control Shift B. And let's pull these out like that. Alright, Now we've got that. Now, let's add a little bit of thickness. Once again, solidify even thickness. Let's click and drag and hold the Shift key down. And let's bring this. Maybe 0.0, 015. Let's try that. Alright, let's bring it back. And then we'll turn it and bring it straight back here. Something like this. And then let's add these little guys here and we will smooth this. But before that, let's add these little guys. Let's press Shift S to, to move the cursor there. Shift a mesh UV sphere. And I'm going to take this down to say 16.12 or even maybe about 12.8. Let's do that. And then the radius could be 0.1 or even 0.01. Let's do that. There we go. Then let's go to the side view. Let's take this and let's turn it are X9 zero. Let's tab into edit mode. Press Alt Z and the three key, and let's delete the back faces like that. Alt Z to go back to Solid mode. And then let's take this down a bit. Let's scale it in the y as y. And let's see how this is going to work. So let's move it over here. Let's tilt it in the x-axis, our x. Turn that like that. And you get that in place. There we go. Let's press shift D x and move it over. We could have mirrored it, but just eyeballing it works sometimes. And so let's now take all of this and combine it. But we need to first apply our modifiers. So let's apply the solidify here and apply the solidify here. Then let's take all of these and press Control J. And then we can right-click and smooth it. And then come down here to our object data properties and click on Auto Smooth. There we go. And then let's duplicate it. Shift D and press enter, and then just move it down on the y-axis here like that. Then let's spin it in the Z RZ 180. Now it should be down here on the bottom. Yeah, there we go. Alright, so down here, we could do that little piece down here. I think if we wanted to, we could press Shift S to, to move that there. We could go, let me go back to global here and press Shift a mesh plane. Let's turn it in the x-axis. Like that. Let's scale it down and bring it into place here. And I think for this, I want to scale it down quite a bit. And then scale in the x. So it's about the same width, something like that. And then let's move it into place and maybe tilt it kinda like this. Move it into there. And then let's take that bottom edge here. And let's extrude this to get that kind of a curve here. I'll hit G to move it up a bit. But then let's hit E, e, e. And then let's hit E again and bring it down like this. Let's try that. See how that see how that looks. Back to solid. Yeah, I think we can work with that. I'll bring this down just a bit like that. And maybe we could take this and scale it in the x just a bit like that. Then let's give it a little bit of thickness with solidify here. That already looks pretty good. I think I'll just leave it as is. And then well, I guess I'll go ahead and apply it. And then let's just press Shift S to bring the cursor there, shift a. And I'm going to create a cylinder with only six sides. And I'll take it way down 0.1 and 0.2 here. And I'll scale it way down, and this is gonna be our bolt. So let's just scale it in the z till we get it to be about the right size. We go now, we can bring this down and turn it. Put it down in here. There we go. Maybe a little too big. Let's bring that there. Let's bring this over here. We can go to local mode with the comma key and then press R and Z and spin it around a bit if we want to turn it. And let's bring that cursor to that point. Create another cylinder here. And this time let's give it a 0 12 sides. And then we'll scale it way down. And we'll just put this in here, right in the center of it. Like this. Let's try that. What do we think? Yeah, we could take that and we could smooth and maybe can take this and we can smooth this. Turn on auto smooth as well. And then, well, let's just take these to go back to global. And let's just press Shift dx and move it over here. If we wanted to, we could also go back to local and spin it in the z, so it isn't quite the same as the other one. Just if we want to be, you know, a little more detailed about it. Drag this up so that looks pretty good. Alright, so in the next video we'll continue on with some of these larger pieces going down to the front tire. 22. Modeling the Front Fork: Alright, let's give this a try here. This piece, this curved tubing right here. Let's give that a try. Before I do though, let's take everything we just created here in the outliner. All of these ON maybe this, here we go. Alright, let's take all of those and move them up into the horn collection. I'll just click and drag those into there. So we don't have them labeled at this point in time, but at least they're in a collection that kinda tells us what they are. Alright, so for this piece, I think once again we can use a path for this. So let's press shift a curve path and oh, the 3D cursor was up here, so it popped in there. That's fine. Let's scale this down. And I will turn it in the y-axis, RY 90. And let's move it out here. Let's also change from local to global transformations. And I'm going to go to the front view. And I think we're probably going to need to hide quite a bit of this. So Let's just click here and drag up. I'll hide the seat. Yeah, So here we go. I think I can see that. Right in here. There it is, right there. Let's see if we can hit the G key and maybe put this right here in the middle. Scale that down just a bit. And then let's tab into edit mode. And if we just drag select, say these two and the top and move them over. And maybe drag select these two on the bottom and move them over. So I'm not sure if we can see feel like it's right there. Kinda hard to tell. But what we can do here is we can take these and move them straight down like this and take this one and move this up. Maybe even so they're kind of in line with each other here, these three. And then we need to add some other points so we can subdivide these. Let's take this and this, and then right-click and choose sub-divide. And that adds a point right there in-between those. And then we can drag this straight up to get a tighter curve there. And let's try that with these up here. I'll right-click, sub-divide, select that point, and then let's drag down like this. Alright, so let's tap back into object mode. Let's see how that looks. If I tap back into edit mode, we can take a look at, perhaps we could subdivide these two here and then select this one and just move it up to here. So we're getting a little bit tighter curve, maybe. Try that. Let's go back to object mode. Yeah, so I think that's pretty good. Let's now go to the side view here. And this is it here. So let's bring this back and then hit the R key and turn it like this. And let's maybe put it right in here. Let's take a look at that. Alright, Let's bring everything else back just to kinda get a sense of how we're doing here. Is that about right? Do we think, well, let's add some tubing to it and see what it looks like. So down here, we can go to our object data properties again. We can click and drag in the depth field here and pull this out, some like that. Let me hit the three key and I'll go to wireframe. Yeah, So it feels like it almost looks to me like it gets a little bit wider once we get down here. Let me see. Let's see if there's another image here. Image open. Maybe I'll take a look at this one here. Let's press Control and Spacebar and zoom in here. And yes, it looks like it begins with a tube and then widen this out here and then narrows back down into here, right? We can do that, but we're going to need to convert that to a polygon mesh from a path before we can do this. So let's press Control Spacebar and go back to here. And then I'm going to need to convert this, but before we do, that's way too many polygons in here. So recall that we can take the resolution preview down. Let's take it down to say four. And the resolution under the bevel section we could take to three. Let's try that. Let's take a look at how that looks. That doesn't look too bad. How about if we take this down to three? Let's take a look at, yeah, that actually looks pretty good. So that's the geometry that will get once we convert it to polygons. So let's go ahead and do that. Let's, with this selected, let's right-click on the path and let's choose convert to a mesh right there. Now if we tap into object mode, we can see the polygons there. Alright, so what let's do now. Let's go to our local transformations. Let's take this edge right here. I'll just Alt click that. And I want to scale it out in the y-axis of the local transform, but I also want it to taper in from here. You can see it, it feels like it kind of tapers in. So let's use the proportional editing tool here. I'll just turn that on or you can press the 0 key to turn that off and on. So now if we press S and Y, I've got the area of influence here. So I'm going to pull out and you can kinda see how it kind of tapers in like that depending on how far out we scroll the influence. So I kinda like it like this. That's kinda nice. Let's try that. I'm gonna go back to the side view here. And now I want to extrude this straight down in the x-axis. So I'm just going to hit E and X and pull down like this. And there we go. Then what I'm gonna do is select this point here and move the cursor to it, shift us to. And then when we select this, I want to scale in the y-axis, but from this point. So recall that we can change with the period key from median point to 3D cursor. Now we're going to scale in the y to that point here. And it looks a little like it's kind of rounded or something there there there looks to be like a curve on this side, but straight on this side. So what I'm gonna do is add a few edge loops here. Then what Let's do is select this edge right here and scale in and the Y, S, Y. And with that proportional editing tools still on, you can see it kind of bends there. And so maybe I can maybe I can expand this like this. Maybe something like that. Let's see. I'll click there. Let's tab back into object mode. And yeah, we've got a little bit of something there, but it's not quite what I want. I'm going to undo it and try one more time. I'll just press S y. I'm going to bring it in and maybe, maybe not go quite so far up. Maybe you just have a hint of a curve there, something like that. Let's see. Okay. We might be able to just take this now and scale in the y here, S, Y, like this. And maybe we could push out a bit. Let's try that. Try this SY. Push out a bit like that. Sy like that. Let's try that. Yeah, that's interesting. I'm kinda seeing that there. Let's tab back into edit mode and grab this and let's turn off the proportional editing tool. And this time I'm going to press S Y and scale in a little more right here. I'm just going to go through here and press S and Y and adjust a few of these y. Now, I do see also that we're cutting into the fender. Let's try and pull that out. So I'll tab back into edit mode. And we could probably select these points down here and then press Control and plus on the numpad to extend the selection up like this. Maybe one more. Well, maybe we're going to need to use the proportional editing tool after all for that. Let's press G and Z. Pull out just a bit. Yeah, that helps. Maybe I'll scroll up just a bit like that. There we go. I think that helps a bit. And then it also looks like we should scale in and the z here. Let's try that s z. And I'll scale in like this. Well, we need to scale in from this point right here. Let's do that. Shift us to, let's select this. Press the period key, go back to the 3D cursor, and now let's try this again, s z and bring that in. Kind of scroll the mouse wheel up a bit. That, Let's try that. Alright, so we could move the cursor to the center of the grid, press the comma key, go back to global. We're already using the 3D cursor for our pivot points. So we could press shift D Enter, Control M and the X key and then Enter, and that should mirror that over to the other side. Alright, I think we're coming along. 23. Modeling the Fork Bracket: Now that we have these pieces in, and we've also got the frame or the chassis. And I think we can begin to work on some of these connecting pieces inside here. And it's kinda hard to see exactly what we're dealing with. I'll press Control, Spacebar and zoom way in here. But it looks to me like from this piece here that we just created, there's a brace that goes up and across and then back down on the other side. And then there's this cylindrical piece here on top of that. That kind of connects to this piece that we didn't create when we were creating the chassis. And that's because I knew we'd have more pieces in here to kinda fit this in. So I'd like to begin working on this. Let's begin with this bracket here, this connecting piece between those two sides. Control Spacebar to go back to there. And just as a reminder of where we're going with this, I'm gonna go back to the reference images. And here this motorcycle chassis hall. Once again, press Control Spacebar. And this piece right here. So that's where that cylindrical piece connects to the bracket. Alright, so we're going to need to create this as well. We're not going to need to create it in extreme detail by any means. And that's one of the reasons why I leave these kind of internal pieces until later, because we often don't need to give it all that much detail once we have all the other pieces on the outside in place. So let me see if I can go back and find that reference image that we were just looking at, or at least one that can help us. Let me take a look at this one here. See what this looks like. Yeah, this is actually pretty good. This gives us a pretty good sense of what that bracket piece is doing here. So what I think I wanna do is create a cylinder and then extrude it back and up and over and connect in the middle. Once again, it isn't going to be a perfect piece, but we need something in there to connect those two sides. So for these brackets, let me tab into edit mode and maybe I'll just select this edge loop right here and bring the cursor to that with shift S2. And then I think we need to create a cylinder for this piece right here. Let me go back to median point and I'll press Shift a mesh cylinder. And for this, Let's take it down to maybe 16 sides. And I'll go ahead and type in 0.1 and 0.2 for the size of it. And I don't think I need a cap pill, so I'm just going to choose nothing. And then let's go to the side view, go to wireframe, and now let's try and scale this down. Turn it. And once we turn it, I think we need to be in local transformation mode. So I'm gonna hit the period key and choose local. And now we can scale and move in alignment to the object here. I'll scale in a bit, scaling the z. Let's bring this down. And I think right in here is what we want, maybe right in there. Let's try that. I'll press Z and go to solid. And then let's scale and the x as x and bring that in like this. Maybe bring it in in the y just a bit like that. Okay, so we've got that. Now let's begin extruding this across. Let me scale it down a little bit in the z. And then what we can do is select a couple of faces over here, maybe, maybe these six faces, and let's extrude this out. So in the x-axis here, I'll hit bx and pull out a bit. And let's see if we're intersecting. Yeah, we are maybe right about to here. And then let's flatten this. So to flatten this, Let's scale in the x-axis. And in fact, what we can do is press Sx and the zero key, and that'll flatten that and then press Enter. It looks like I might be able to take this whole thing up just a little bit like this. There we go. And then, Alright, let's move it out until we almost intersect with that vendor. Then let's bring it up. So what I'm gonna do is just hit E and pull out. And then just pull straight up like this. There we go. And then we want to go toward the center. So I'll hit E again and come toward the center like that. Now I'll bring this back just a bit because let me tab back into object mode and let's mirror this. So to do that, we're going to need that origin in the center of the grid. So I'm going to press Shift S1 to move the cursor and then go to Object set origin to 3D cursor to get that in the center of the grid. Now let's come over here to the modifiers panel. Add a mirror modifier. And there we go. Now we've got some rotation in the x, but I don't think that's going to bother us here. I think that's okay. So if we tap back into edit mode, now, we've got these faces and we don't want internal faces on our objects. So let's delete these delete faces. And then let's alt click this edge here to select that. And then as we move this in, once again, we don't get any clipping. So let's turn on clipping. And then when we bring this in, that'll snap together like that. Okay, So we've got that. Now if you want to adjust this a bit, you can always say alt, click this edge and move it back a bit, get it a little wider or something like that. But generally speaking, I think that's probably pretty good right there. So then what Let's do is let's add a few edge loops, maybe one along here. Because I want to get these ridges on the top and the bottom. So let's put some edge loops in here. And then in face mode we can Alt click and Alt Shift click those face loops. We could also turn on cage right here that extends to the other side. Then Let's extrude these and scale these out. But we're not gonna be able to do it all at once. I think we better do it one axis at a time. So let's hit E and then Enter. And then I'm going to press S and scale out just a bit like this in the y-axis here. And then I'm gonna come over here. And just these bases maybe right in here, these four along here, I'm just going to pull out in the x-axis like this. There we go. So now we've got that ridge all the way around. That looks pretty good. Now let's smooth it and come down here to our object data properties and turn on auto smooth here. And we may be able to click and drag and clean that up just a little bit. Yeah. Just bring it up to around 34, so that cleans that up pretty nicely. And then there are a couple of other things I think I'd like to do. One is I'd like more of a rounded edge on this. So I'm going to tab into edit mode and go to edge mode. And I'll Alt click this, alt Shift-click, Shift-click these. We get those edges. And I want a bevel these, but do we have our scale uniform? We do not. So I'm going to press Control a and apply the scale. And then let's press Control B and pull these out a bit, scroll the mouse wheel couple of times and we get our curved edges there. Yeah, That's kinda nice. I've got these here. Maybe I can drag this up just a bit. Yeah, that cleans that up just a bit. Good. And then finally, I'm going to close this up. I don't want this to be quite as open. So I'm going to Alt click this edge, and Alt Shift click this edge. And then we're going to want to scale in the x and the y, but not the z. If we scale in the Z, it'll pull these together and we don't want that. So what I'm gonna do is extrude and then scale while turning off the z-axis here. So let's press E, S, Shift Z to turn off the z-axis and then bring those in so they close up there. Alright, yeah, there we go. So I think we've got something like that connecting bracket here. Before we create this cylinder. Let's in the next video, work on that connecting piece up here. So we can see how far away it is and how big that cylinder needs to be. 24. Connecting the Chassis Pieces: Alright, continuing on with that piece here in the center. Let's go find that reference image again. It's in the internet images here under motorcycle chassis. So here's that here. We can put that here, but we can also put it here in the 3D view. Why don't we do that? Let's hide our current reference images. I'll just exclude them here. And then also we should probably hide everything we don't need. So I think we've got this and this, so these are already outside of the collection. That's good. Let's just grab this and this and bring these out of the collections as well. I'll press M and bring these out to the main scene collection here. Yeah, so there we have those. Now let's just go through and hide everything else. So I'll just click and drag and hide these. We can hide the seat. We can also hide the gas tank. Let's go ahead and do that. Now let's bring in this image into the 3D view as well. So I'll hit the three key to go to the right orthographic view. And then let's press Shift a image and reference. And then we'll go find that image. Here we go. Motorcycle chassis, a load that, and there it is. Let's do a couple of things. Let's first turn on opacity and take it down to maybe 0.25, so it isn't quite so bright. And then with this selected, it's just called empty. Let's call it chassis reference. And then we can just take it and scale it down. We're going to try and move it so it fits over our existing objects here, it isn't gonna be perfect. Once again, this isn't an orthographic view. It is a perspective view that we're looking at here in an orthographic view. So it's never going to be quite perfect. But we can get these down to pretty close here. So maybe if I turn it a bit. Alright, so what Let's do is first of all, I'm going to ensure that the cursor is in the center of the grid with shift S1. And then press Shift a mesh and let's create a cylinder. I think I'll use 16 sides again. Shrink it down pretty far with 0.1 and 0.2. And I think I will take away the cat bills. So there isn't anything on the top and the bottom here. And then let's just hit G and move it up. Hit the period key, it z, go to wireframe. And then let's just try and get this in place. So I'm going to scale it down the hierarchy and rotate it a bit. And maybe scale it out just a bit. And then we can scale it in the Z, Z and bring this up, something like this, then we should probably flare that out a bit. So let's do that. Let's tab into edit mode and go to edge mode with the two key. And I'll just Alt click and shift click these two edges. And then let's hit E, S, Z and bring these out about like this. And then let's scale these out in the x and the y, but not the z. So I'll hit the S key and then Shift Z and then scale those out a bit like that. Alright, let's take a look. And then we're going to need to work with these pieces here. So I think what I'll do is maybe split them off. Let's go back to Solid View. And maybe if I took these faces here and press shift D and Enter. And then I want to kind of expand them out a bit. And there's a tool over here, this shrink fat and tool. This is really helpful with something like this. And you can see the shortcut is Alt S. So if I come over here and press Alt S and move the mouse a bit, you can see I can kinda scale this out without making it any longer. So I'm just going to pop this out just a little bit like that. And then I could take this edge here and hit the G key two times and bring that up to where we think it needs to be. Let's hit the Z key and go to wireframe. And yeah, it looks like maybe right about in here, right there. And then what I wanna do is take this piece, I'll hit the L key and separate it out from this original piece. And keep in mind, we are mirroring this over, so that's good. We want that over there. So I'm just going to hit the P key and separate by selection. And there we go. So now we've got this piece over here. And then let's do the same thing for this. I will Alt click between two of the faces and then press Control and the plus key on the numpad. And I'll extend this selection out to about here. And let's do this again. Shift D Enter and then Alt S. And let's bring that out just a bit like this, something like that. And then let's hit P and separate by selection. And now we've got just this piece and this piece. Alright, that's good. Now let's go back to this piece and let's begin extruding this back. So I think if we tab into edit mode, we may be able to just select these faces here. Let's do that and extrude these back to get this basic shape. Now, I don t think we're going to need the whole thing because the gas tank is going to be right here. In fact, we can bring that back if we wanted. Yeah, so we're not going to need that whole area all the way back here. We just needed to go hideaway in the gas tank there. So let's take these faces and just hit E and pull these back like this. And we could scale in the y. We could press S Y zero and flatten those up. We wanted to do that. So I'll bring it back to about right here. And then I'll extrude it again. I'll hit E and pull out a bit like this. And then I'll bring that up because if we bring the gas tank back, you can see, we can see that now we may not be able to see this because of all the other things that are happening that we haven't created yet. But we'll go ahead and just ensure that it's there just in case. So I'll go back to wireframe, select these points and bring these up a bit like this. And then we should probably Extrude one more time. Let's do that. I'll select all of these, go back to the side view and let's hit E and bring these back to maybe here. Let's take a look at the gas tank. Yeah, one more, Let's do one more 0s and bring that back like this. Now let's take a look. Yeah. So that hides that away pretty well. I'm going to bring that back to there. Now we could also select these faces here and extend that up just in case we ever see that. I don't think we will, but just in case. All right, and then let's grab these edges here. And let's extrude these n. So let's press Shift Z you once again and bring those in. And lastly, I'd like to see if I can get this edge right in here. Let's hide the gas tank and see if we can get that edge right in here. I'm not sure that we can, but let's try it. Maybe I'll take this face here. We could actually split this in half and mirror it over so we don't have to do the same thing on both sides. Why don't we just do that? Why don't we just work on one side and then will mirror it over. So I'm going to hit E and pull out a bit. And then I want to connect these apps. So maybe I take this and delete it, delete that face there, and then maybe take these two and bridge edge loops with Control E and bridge edge loops. And there we go. So now we've got that ridge there. I just feel like I wanted that there. So now that we have that, we got to split this and mirror it over to the other side. But that's not too difficult. Let's take the image here and just hide that for a moment. We'll go to the front view and tab into edit mode. Let's go to wireframe face mode. And I'm just going to drag select just one side right there. That looks pretty good. Let's hit Delete and delete faces. And then let's just mirror this over to the other side. So let's come back here, add a mirror modifier, turn on clipping. And then let's just click Apply here. There we go. Let's smooth it. And then let's come down here to our object data properties. Turn on auto smooth. And what do we think? Not bad. Let me try and scroll that up just a little bit. See what I lose. I like, if I scroll it up to right about here, right about 48, I lose those edges, but I keep this one here. I kinda like that. So then we want that cylinder then in-between there. Let's go back to that. Reference image that we had before. See if I can remember which one it was. Let's take a look at this one. Right in here. There's a cylinder. So let's create that. It looks as if there's more space in there here in our model than in here, but it looks like this area could come down. So if we tab into edit mode, what if we took these here like this, and we brought them down to about here. And then we can also grab these points up here, I believe Let's try this and bring them down. Just a hair like this. That might work. Let's try that. Yeah, So I think that works pretty well. So now we could add that cylinder in here. Let's do that. Let's take this piece, grab this point here, bring the cursor to it with Shift S2 will add a new cylinder. Let's scale it down. Scale it down like this. Let's turn it a bit so it is in line with all of this. Scale it in the z with z scale, this back out. Yeah, so we get something like this. We can tab into edit mode now and grab these points here and move these up. Maybe scale out a little more like this. Then we can begin extruding down to get this. So maybe I'd take this. Now we get hit E, S and scale and a bit easy and pulled down a bit. I'll do that again. Easy and let's bring this down like this. And then E S and scale that in like that. We could also press E S up here. Just so we're getting something that looks kind of like this. Maybe bring it down a bit. And then I'm gonna go ahead and add a mirror or a subdivision surface modifier here and smooth it. And then let's add a few edges. Just to hold these. This, I'll add two down here. Just so we have something like this in here. To kinda connect these two pieces up. Like that. We could also take these and just bring these up into here. Take this and bring this forward into here. We need to apply the mirror modifier here. And then take these and join it together with this piece right here. Let's try that. Control J. And then maybe we could re, smooth it and drag this up just a bit. We lose that nice edge there. But what we could do is just Alt click here and Alt Shift click here. And then Control E and mark sharp. There we go. Yeah, That's kinda nice. We could even do one down here if we wanted, like this and this and mark sharp down there. So we get a nice edge to that. Alright, in the next video, we'll begin working on the area up in here to try and connect all this up. 25. Modeling the Handlebar Connection: Alright, let's start working on that connecting piece between the handlebars here. Before we do that though, let's do a little clean up over here in the outliner. I'm going to find the different pieces that we've just been creating here. Here. Well, this is the chassis. Yeah. I mean, I could take all of this and put it in the chassis collection here. So let's just do that and just drag that up into there. And the chassis reference I could drag into the reference objects for now. We can bring back the seat, I guess. Alright, and now let's work on bringing in some reference images that'll help us with that piece. Well, here's a good one. Let's take a look at this. Let's press Control and Spacebar and take a look at this. And I'm just thinking about this piece right here. It kinda curves out here. It's got an extrusion or something out here. And it also kind of melds into these circular pieces where the handlebar goes into. So I think I'd like to work on this right here. Let's see what other reference image we might have for this. Just so we've got two views of it. Let's see, I'm going to hover over here, drag down and create a new window, change to an image editor. And let's see what else we can find here. I just opened this one here. What about this one? Let's take a look at this. This is another kind of top view. Yeah, that's a nice angle on it as well. So I think between these two, we should be able to get fairly close to that. Alright, Well, let's give this a try. I'll maybe select just this piece and zoom in with the period key on the numpad. And then let's take this and press Shift S to and bring the cursor into there. And it's got some curves to it. But I think I'll begin with a cube and we'll use the subdivision surface modifier to get some of these curves. Let's press Shift a mesh cube. Let's take it down pretty far. I'll take it down to 0.1 m. Alright, let's scale it down. And it looks like it's going to need to turn to be in line with what we've got going on here. So let's just hit the R key and turn it sound like this. I'll move it up. I'm still in local transformation mode, which allows me to move it in line with the angle of the object. And then maybe let's press S and Z and see how tall this should be. It's kinda hard to see from this angle. Let's press Control numpad three to go to the other side, and z and wireframe. And so it looks to me like it's about right to here. And then maybe we could tab into edit mode, select this face and bring it up. So it's about like because here's that cylinder, I think that's beneath it. And here are the pieces on top of it. Maybe something like this, maybe that's about how tall it is there. Let's take a look at what that gives us now when we tumble around. Alright, I think that could work. Let's press S and scale out a bit. Now, let's press Control R and drop an edge loop right down the center. I'll just hit Enter twice. And then let's select these faces here. I just Alt clicked between two faces and then Shift-click that one. And let's hit Delete and delete faces. And then we can go ahead and add a mirror modifier to this. Let me see if I can bring these up a bit here. And we'll turn on clipping. Let's also add a few edge loops here. So maybe if I added an edge loop right around in here. Oh, and I'll turn on the cage so we can see that on the other side. And if I hit the three key and select this face, maybe I can hit E and extrude this out. And maybe take this edge here and pull it out. See how that works. Because I'm just beginning this kind of little extrusion here. All of that is going to collapse a bit once we add a subdivision surface modifier to it. And maybe let's add an edge loop over here and kind of pull this out as well. So maybe we take this and pull it out a bit like this. And maybe I'll even take this edge and pull it out a bit like this just so we have something for the handlebars to come out of. Now I think we're at a good point to add a subdivision surface modifier and see what we have. I'll go ahead and add a modifier here. So let's tab into edit mode and we've got some work to do here. I'm going to right-click in object mode and choose Shade Smooth. And then I'll add an edge up here to give it a little bit tighter edge up there. And add an edge and drag it down like this. And for this in here, I feel like I could take these faces and maybe extrude these out like this. And then take these and Control click this edge here and pull this out. So we're getting some of this curve back here. Yeah, We're getting there. This curve up here is a little narrower. May be able to Alt click this edge and bring it in. And alt click this edge and bring this in a bit like this. Let's go ahead and add another subdivision level here. I'll just take that up to two. Yeah, that looks pretty nice. I like that. Alright, so now let's think about this piece here and how we're gonna get this. I think what I'm going to have to do is add an edge through here, through the center. How are we going to get these guys in here? I think what I'm gonna do is select these and move these back a bit. I'm going to move in the y axis here. Actually let me go to global and then move them into Y. So I'm just going to hit G and move all of these back. Just a smidge like that. Yeah, So we have a little bit more room to play with him there. What I need is some geometry to create a round hole here. And I think if I select or create an edge here and move this forward up here like this. And maybe create another one here. Let's try this. Now what I've got is I've got these faces here and those four faces have eight edges all the way around. So what we could do is press Shift S to and move the cursor there and press Shift a and create a new cylinder and give this eight signs and take it down pretty small as well. And remove any caps on the top and the bottom. And then we could scale this down. We could turn it so it's in line with this piece here. Like this. Let's say we need to move it a bit over here and kind of do a little bit of rotating and work to get this in line. I can't really duplicate polygons off of this currently because I still have it as a path and that's fine. I still want to keep it like that just in case I want to make a few adjustments. But for this, let me change to local transformation and I'm going to turn in the z-axis, r, z. So it kinda spins like this so that it lines up with these edges. Now if I take this and Shift-click this and then join these two together, Control J. It gives us both a mirror of that and subdivides it. I'll smooth it again. Now I feel like we're going to need one more edge in here because I've got this edge is doing the work, but I think I need to add another one right in here. Let's see how that works and use these bases right here. So I'm gonna take these faces and delete them. Then I'm gonna take this edge and this edge. And we're going to bridge edge loops. Control E. Bridge edge loops. There we go. So now we've got those coming out of that. And we could maybe take this and move it over a bit. We could take this and slide it over some G2 times like this. So we could do a little work to get that, to transition a little cleaner. But I think that works pretty well. Actually. I'll move that in like this and then back like that. Let's try that. So that just allows us to get this smooth transition like we see here. From one piece to the other. It's going to move this up a bit. Maybe take these edges here, hit the G key two times and slide them back a bit. Just kind of grows out of that piece fairly organically, kind of like this here. We could maybe take this and move this in a bit over some. Alright, so we've gotten generally that piece there, That's not bad. I think I'd like to maybe just hit G two times and slide this over like this. And then we can always take these edges in here, this, this, this, and this kinda pull these back a bit like this. So once again, it may just be a little bit of point pulling, moving things around until you get it the way you like it. In the next video, we'll work on these plates up here and these pieces on the top. 26. Adding Detail to the Handlebars: Alright, now that we've got this block here for the handlebars, let's work on some of these details on the top. Maybe this plate first, let's work on that. I'll tab into edit mode and hit the one key to go to vertex mode. And maybe let's just select this one here and press shift us to, to bring the cursor to it. And then I'll press Shift a mesh. Then let's just create a polygon plane. I'll begin with a plane for this plate, and then we'll add a solidify modifier to give it a thickness. Let's take it down to 0.1. There we go. And let's scale in till we get it about the size that we want. And then maybe I'll go to the side view with the three key on the numpad and hit the R key and turn it just a bit. We're still in local transformation mode. So our axes here turn with the object. That's good. Maybe I'll bring it over like this. And then I guess we could just scale out in the x-axis and take these out like that. And then we probably need to split it in half. Let's go ahead and do that. I'll press Control R and hit the Enter key two times. And let's just take this face here and delete it. And then we'll add a mirror modifier. Here it is. And we'll turn on clipping. And then for these little pieces that kinda curve out on either side, let's add an edge loop, maybe right in here. And then we could take these edges. Oh, I better turn on the cage right here so we can see it on both sides. And then I'll just hit E and y and extrude this out just a bit. And then maybe take this point and move it out like that. Then let's try this edge here, EY and pull these out. And maybe we'll just pull it out to here and then take these points and pull them in. Maybe like that. Let's try this. There we go. Alright, so now that we've got that B, I'll pull it up just a little bit more. And now let's add a subdivision surface modifier and see how that works. Add modifier subdivision surface. And yeah, I think that's okay. Maybe we need to add an edge right in here to kind of tighten up this line here. And then maybe just bring this out like this. Bring that out to there. And then we might want to take an edge and bring it into here like this. Let's try that. If we added one more viewport level here, that really cleans up those curves. Yeah, That's kinda nice actually, I like that. Alright, so now that we have that, let's add a solidify modifier here. That's not bad. Let's apply the scale. Let's press Control a and apply the scale. And now it is a little bit too thick. So let's choose even thickness. Then click and drag and I'm going to hold the Shift key down. And let's maybe bring it about like this. Let's bring it up a bit. Maybe turn it in the x-axis are annex, Something like that. Yeah, Let's bring it up a little bit more. Alright, so now that we have this, let's go ahead and smooth it. And then down here in the object data properties here, let's turn on auto smooth. And that helps with that. Okay? So with this still in the center, maybe, well, let's move this cursor up to this point. I'm going to press Shift S to, so it moves it up to the center of this polygon plane. And then let's create a new cylinder. And it looks like this piece right here is a 6-sided bolt type objects. So let's press Shift a mesh cylinder. Give it six sides, and I'll take it down to 0.01 and 0.02. So it's pretty small and we want to keep the tops on. I'm going to change it from n gon to triangle fan. And then let's press S Z, scale this down quite a bit. And then let's turn it. I'm going to go to the side view with the three key and hit the R key and turn it so it's kind of in alignment here. And let's scale it out. Bring it up. See what we have here. Alright, I think it needs to be a little bit bigger. Maybe like that. Maybe not quite as thick though. Alright, and then let's turn it. I'm going to press R, z and kinda spin it just a little bit so it isn't exactly in line with everything. And then these little cylinders here, it almost looks like we could take this right down here and duplicate it and bring it up. Let's try that. Let's press shift D Z and bring this up into here. And then we could scale it down a bit, scale it in the Z, Z, bring that in some maybe a little bit taller. Something like that. Alright, so we've got that maybe a little bit smaller or should it move a bit? Yeah. It's not quite in the center, is it? Maybe we shouldn't move it a bit and scale it down a hair. And then it looks like we could also realign it here like that. And then we need another bolt type object. So let's just take this shift D Z and we'll scale this down like this. But this here, our z to spin it so it isn't quite aligned with the other one, then it looks like we need another bolt right here. Let's do that. So Shift D Z, bring that down to something about like that scaled in the z. Maybe about like this. Alright, yeah, that's looking pretty good. I think. It's just giving some detail in there. And this is the kinda thing that your eye doesn't really pause on or anything, these kind of details your eye moves, pass them to the bigger parts of the object, but it's good that they're there. It's still kind of subconsciously needed, I think, to provide that level of detail. So this thing here, Let's work on this. That may be interesting. For this, I think first of all, I'm going to take all of these and let's put them in a group here. This is really handlebar stuff, right? So let's just take this and drag it into the handlebars here. What is this? That's handlebar as well, right? So let's put that in there. Alright, and then what I'm gonna do is just hide everything to work on this piece right here. Yeah, let's hide everything. Let's come down here and just click and drag. Hide everything here. I'll move the cursor to the center of the grid with shift S1. And then let's just create a cube. Shift a mesh cube. Let me hit the three key to go to the side view. And I'm just going to take this down pretty small. And we're going to begin with this right here. So let's do that. Let's begin right about here. Let's say this thing is going to come down and around like this. So if we tab into edit mode and press Alt Z and the three key and select this face here. Let's just pull it out till we get to a right about here, Let's say. Then I want to turn this. And we could hit the E key and then our key and turn it and extrude and rotate and on around. But There's this spin tool here that's kind of fun to use. So let's take the cursor. I'm going to go over here and choose cursor here. And then I can click and drag that around to maybe right about here. Let's say that's the point that this is going to turn curve around. So now let's come over here and choose spin. And then when we click on this little blue icon here, just click it once. Now we need to do a few things down in this panel currently, as we turn it, it's going to spin in the z axis and we don't want that, we want it to spin in the x-axis. So let's change the Z to zero, and then we'll change the x to one. Let's do that. I want to change the number of steps down to maybe, let's try four. Then if we click on this and turn it, look at that. We can kinda been this down like that. Now we can take it in the y-axis and move it a bit. We can move it in the x-axis a bit if we want. So I'm thinking maybe something about like this. Then all we have to do is just switch back to the move manipulator and there it is. Now, I do think I want to scale or move these edges in like this because it goes to a thinner place here like that. So I'm just going to take these and move these in a bit just to try and match that. And then once we have that, we can take this. Let's go to face mode here. And now let's extrude this down, hit the E key and just pull it straight down. Although I think I want to pull it straight down in the z, it wasn't quite aligned there. So I'm just going to do that and maybe scale in the z, z zero to flatten that up. And then we wanna do another one down here. I feel like it needs to be a little bit wider, so I'm going to press S and scale it out just a bit like this. Alright, so now we have this face and we want to do this again. I want to turn that again. So I'll select the cursor, click and drag this to here. So it's going to turn around this point. And then with that face selected, Let's just click spin again. Then I'll click on this. Now we've got to change all this again. I'll put one in the x, zero in the z. I'll change my angle 360-90 degrees. Let's do that. There we go. Now we should be able to kinda move in the x, move in the y if we want. I don't think I wanna do that. Alright, let's go click on the move manipulator again. And then I think I just want to extrude out in the y, so EY and pull this out like that. Okay, let's take this and try and put it in place. Let's bring everything else back. I'll just click and drag on all of these. Now we don't need that. And then let's go to the side view. Scale it down a bit. Go up here, hit the period key on the numpad. And we're just going to try and put it in place right up here. Now I'll turn it. Try and get it aligned here and drop it down to this point right here. And then maybe scale it down a little bit more. Yeah, so now what I'm gonna do is I'm gonna take it and I'm gonna spin it RZ and bring it up maybe round here like that. So it isn't exactly in line with things. That's always what I like to do is try and give a little bit of randomness to things. And maybe we can move that back like this. And then there's this little piece. Do we really need that? Alright, I'll do it. Let's grab this face right here, and let's just press shift D y and move this out like this. Bring it down into here. I'll scale it out in the x just a bit. And then let's just take these edges here. I could use that curve tool again, but I think I'm just going to hit E, z and move up and then push that in and the y, easy, push it in, easy, push it in like that. Then we probably need to press E. Why that out like that. Alright, and then let's add a solidify to that. We could split it out as its own object with the P key and separate by selection. And then if we choose that, Let's apply the scale, control a scale at a solidify even thickness. And then let's drag this down. About like that. There we go. Now I'll smooth it. Come down here to Object Data Properties. Turn on, auto smooth. There we go. Yeah, So let's try and smooth this one and do the same thing. Turn on auto smooth. I also want to apply the scale to this piece and then select these edges and press Control B and add a bevel to that right there. And let's see how that works. Yeah, I think that helps. Alright, in the next video, we will continue on and try and connect up the headlight with all the rest of this. 27. More Details on the Handlebars: Alright, let's add a few more details to this handlebar area. These handles here, I think I mentioned some time ago that we'd work on this, create these little grooves and I guess now is as good a time as any, right? Might as well. Let's just take these faces here and we'll do this all the way around. Let me hit the period key and zoom in. So we tumble around this. And then I can press Shift and click this face and then control and connect those. So then Shift Control, Shift Control. And we'd just do this all the way around. We get every other row of bases here. There we go. Now let's just extrude. I'll hit E and then I'll hit the S key to scale. And let's just scale all of these end towards each other. There we go. Now we've got those. It kinda looks like they bulge out in the center a little bit. Let's Alt click this edge in the center and just hit the S key and maybe scale out just a little bit here like that. There we go. And since these are mirrored over, we have it on the other side as well. Alright, so we've got those. We can also work on the connection right here at the end of this piece. Alt click this edge, and let's see what it looks like. Well, it's kinda hard to see, they're right here. So it kinda curves in a bit. Maybe we could just hit the E key and then Enter. And then let's hit the E key again, E and S and scale in like this. And that just gives us a little bit of a curve there. Maybe we can change from local to normal transformations and that then brings it in line with that edge. So sometimes that works and we can maybe pull that out, built like this. Let's try that. Now. I think that'll be okay. But the problem is we've got these blocky polygons on the handle, so it looks kinda strange. One thing we can do is just for the handles, we could add a subdivision surface modifier and that helps clean that up a bit. If we increase the subdivisions that would clean that up a bit. That's a little bit better. Okay, And then what else can we do here? Well, we could add these things on the top here. Those are just more bolts, but it looks like now that we've got things in here, like these maybe aren't thick enough. Let me take one and delete it. And this is another reason why it's great to just begin putting things in, getting things in and seeing how they relate to each other in terms of proportions, placement, things like that. Now that I have all of this in, it feels to me like the coils aren't quite big enough, right? You can see them here and on this side over here. So I feel like maybe we need to try and make them a little bit bigger. And to do that, I think we need to come up here, first of all, into the settings for the screw modifier. And a couple of things we could do. We could first of all, just hit the S key and scale up a bit. That's going to make them a little bit bigger. We can also tab into edit mode and hit the a key. And what that will do is select that circle that we began with when we created this. And we could scale this up a bit so we get a little bit more volume on those coils, we could try that. So let me scale up again in object mode like this. And then we could also take the iterations down to bring it down like this, right? We can bring the iterations down to maybe 18. We could then come over here to the taper and we could taper that top in a little bit more, maybe something like that. I'm just trying to get a little bit more out of this. It just feels to me like it wasn't quite big enough. Maybe I'll scale it up a little bit more like that. And then once again, bring it down in the iterations. Or we could click and drag on the angle and that can collapse it or stretch it out a bit. So maybe I can collapse it a bit and then bring the iterations down again, like this, something like that. And then I'll take the taper down a little bit more like that. Let's see, let's see how that works. I just feel like that fills the space a little bit better in there. So now let's take one of these and let's duplicate it. Shift D. And then I'll go to the side view and hit G and move this up here like this. Let's then move it over all, go back to global and in the x-axis, I'll move that over again. And it looks like it's pretty good in terms of the placement there. Maybe I'll bring it down just a bit. And I'm going to need to do something with the end of this coil. I do realize that, but I'm just kinda waiting. To see how this turns out, we could take this right here and move the cursor to that selected edge there at the top with shift S2. And then I could take this and snap it to that cursor with Shift S and eight or selection to cursor. Now if we go back to local, I can then just pull this straight up now and it's centered on that piece. And then I think we need one more, right? We're gonna get this little piece right on top. So let's do that. I'll press shift D, Z and bring that up. Let's scale it down. I'll scale it in the z. And let's bring it down to here. Let's say. Then for that top curved part, let's see what we can do with this. I'll go to face mode with the three key and then I'll hit the C key for circle select and paint this selection here. And then I'll hit the I key and kind of come in like that. So let's see what we can do with this. If we can get a rounded type of thing with so few sides, I don't know if we can, I'm just going to hit E and pull up and then S and scale in and E, S, E, S, E S. Bring that in quite a bit there. And then we can smooth it. Yeah. So we can kind of get something like that. I'll I'll turn on auto smooth. And then let's drag up. And I can get a smooth top here. That's not bad actually. I'm actually surprised it did that well, so let me scale down a bit and then scaling the Z, I feel like it's a little bit taller. First of all, let's take this now. And with the cursor in the center of the grid, I'll change to the 3D cursor with the period key from median point to 3D cursor. And then let's duplicate and mirror this object over the coil Shift D Enter Control M, and the x-axis, I press the X key and then Enter, and there we go. Alright, so we've got that. We can take these two and maybe combine them. Control J. There we go. Now we could take this, let's press the two key and then Alt click this edge shift S2 to move the cursor there. And then we take this Shift D to duplicate it, Shift S and selection to cursor or eight. And then I'll press Control numpad three to go around here. And I'm just going to bring this up, so matches that pretty well. There we go. Another thing we can do is add this piece right here. It looks like it comes off of this block right here and goes upward. Let me see if I can zoom in here. It looks like it goes upward and then into the headlight. So we should probably work on that. I think what I'm gonna do is take this. Let's just make sure we're in the right place. It looks like we need to tilt it. So I'm going to change back to median point. I'll hit the R key and kinda tilt it, hit the G key and bring it down a bit. So you can see that here, that little piece right here. That's what we're going to work on. So let's just take a point here. Maybe this one shift us to, to bring that cursor there. Let's create a polygon plane at that point, and we'll zoom or scale in quite a bit like this. We will go to the side view with the three key on the numpad. And let's just bring this, this. Here we go. So we can scale in and the X to about right here, let's say. Then we can take this edge. Let's bring it up a bit, right? Because like we could come up like this, hit the G key going like that, and then hit E and pulled this way like that. So we're getting this right here. Let's see how we did. Alright. Let's take this edge and this edge and let's scale them out with S and x like this. It just looks like that flares out there. And then we can press Alt Z and go back. It looks like this. It needs to be flat though, so maybe I should take this, move it this way and then hit EY and pull this forward like that. Maybe that would be good. Then let's take these points here. Let me apply the scale because I want to take these points and Bevel those vertices. So I'll press Control Shift B, and then pull these out and roll those a bit like that. And then let's add some thickness to it. Here in the modifiers panel, a solidify modifier, even thickness. And let's hold the Shift key and bring that up like that. Alright, now let's smooth it. And under Object Data Properties turn on auto smooth. Let's try that again. There we go. And then let's add a bolt to it. Maybe I'll even take it a little bit thinner. There we go. And then let's add a bolt so we could grab a bolt off of, off of here, right? Let's try that. Shift D Enter. And then I will hit the three key, all z. And let's just hit G and move this over here. Just get it close. And there we go. Yeah, that's actually not too bad. So we could get that right in there maybe. And of course if we wanted to, we could also take this edge and press Control B and bevel this and this edge and do the same thing like that just to give it more of a curve. Alright, so that's just a little more detail on the handlebar area. In the next video, I think let's try and work a little bit more on this area down in here, connecting up the horn and maybe even working on this piece right here that goes down to the front tire. 28. Continuing with Connecting Details: Alright, well let's start adding some connecting pieces in here. I feel like the top of the horn is kinda hanging out there. And we could use the curved piece here. So you can see underneath the headlight, we've got this kind of curved piece, piece of metal right there. We hit the three key. You can see that here. So I think we need to add that probably a connecting piece across. There's a little piece on top of the horn that we could find on another image here. Let's take a look at this one here. There's just a piece right here that connects to the top. And then it looks like there's a crossbar with a little cylinder on top as well. So I think there's just a couple of things we can do here to finish this off or at least get it so it feels like everything's connected. And then we can maybe move on to other parts and we may have to come back to this area. It's true, but I think I'd just like to finish it off for now with a few connecting pieces. So to do that, let's just take this right here, this cylinder in the center. And I'm gonna go to wireframe. Now, I haven't go into wire-frame by pressing the Z key and then go into wire-frame and then z and back to solid here. But just like you can go to X-ray with Alt Z and then toggled back. You can also press Shift Z to go to wireframe and then toggle back. There is just one of those shortcut keys I don't always use, but I just wanted to mention it just in case you find it useful here. I'm going to press Shift C and then press Shift D to duplicate. Move this up here, let's say. And then I'll press Shift C and go back. And now let's scale this in the x and the y, but not the local z. So I'll press S, Shift Z to turn off that z-axis and just scale that down a bit. And then it looks like they're these pieces right here on either side. So I think I'm going to take one of these. I'm just going to tab into edit mode and then hover over this piece here and press the L key and then press shift D, Z and pull that out. And then I'll split it off as its own object on press the P key and separate by selection. And then if we just tap back into object mode and select that again, Let's scale this down. Now, the origin of this object is still back here. So we could come up here to object set origin and move the origin to the geometry. And then when we scale it down, we can scale it in object mode if we want. And that will just bring this and put it right in here. And I feel like it's hard to see, but I feel like there's kind of a rounded edge there. So maybe let's tab into edit mode and let's just select this edge right here and press Control D. And then pull that out and scroll the mouse wheel just to get that kind of curved there. Alright, so we've got that and then we should probably put it over on the other side, right? Shift S1 to put the cursor in the center, the period key, and go to 3D cursor for the pivot point. And now that pivot point is way down here at the 3D cursor. And then let's duplicate and mirror this over. So Shift D, Enter Control M, and then the x key. And that doesn't work because we're in local transformation. So if we go back to global, now I have this duplicate here. Let's press Control M and X and then Enter. And that will do it there. Alright, so now let's work on maybe this piece right here. It looks like it goes to the top of that bar and then there's another cylindrical piece on top of it. Let's try it and see. I will select this and tab into edit mode and then select this edge here. Press Shift S to move the cursor there. Let's press Shift a mesh plane. And let's take this down to maybe 0.1. So we get it a little bit smaller. And I'll scale it down to about the width that we think it should be. Maybe something like this. And then let's go to the side view. I'll press Shift Z again. Let's turn it to get it kind of angled the way we want it by pressing G and move it into here. And then what Let's do is tab into edit mode. I'll hit the one key to go to vertex mode, and I'll drag select those two vertices here. And then let's extrude back to get this curve down to the top of that cylinder. So let me go back to median point with the period key. And I'll hit the G key and move down a bit. And then I'll just begin hitting the e qui e, e. And I'm just going to bring these around. So it's about like this. Alright, let's try that shift Z, and I'll scale in the x. Brings it out a bit like that. And maybe we can scale in the x here to, let's smooth it. And then let's add a solidify modifier. But I better apply the scale here, right? So let's apply the scale Control a. And then let's add a solidify modifier and hold the Shift key and click and drag in there until we get it down to about where we think we want it. Let's try that. I'll go to Object Data Properties. Turn on, auto smooth. Yeah, maybe I could move that. So it's a little bit thinner. Maybe about like that. And then under auto smooth, maybe I can click and drag and smooth that edge there. Wow, doesn't really seem to want to do that. So what we could do actually is we can take that edge right here and just press Control B and pull that out. So it kinda curves it a little bit. Yeah, That's kinda nice. Then this piece right here, we could probably cannibalize from something else. Maybe this right here, Let's try that. Shift Z to go to wireframe Shift D. I bring this up here. Let's hit the Comma key, go to local transformation, and we can bring it down a bit here. Shift Z, let me scale it down a bit, shrink it into z a bit, and move it down into here. Then I feel like I need one connecting piece right underneath it. So let's maybe grab a bolt somewhere. Where's a good bolt? I'll have out here. Let's try that. Shift Z again, Shift D to duplicate. Let's bring that down here. And maybe I will just scale it down a bit and put that right in here. And let's see if that works. I may need to move it a bit scaled in the z to kinda close that area off. Let's see. Now, I'm not a big fan of that. What if we added an edge loop here and just pull down a bit like that. Yeah, that's not too bad. And then maybe we could take this whole thing and move it up a bit. Let's try that. I feel like that's at least gives us sense that that's connecting there. Now we are going to have to do a little bit of work here. Just to close these off, I feel like I just need to take this edge here, press E S, and then I'm just going to hit the M key to merge at the center. There we go. And I'll do the same thing down here, ES than the M key and merge it center just to close those off. And we're probably going to need something up here, aren't we? Oh, how about this? Let's do that. Maybe I'll take this and this. Let's duplicate it. Let's join those together, Control J. And then let's move these up in. Here we go. Now let's take these and move these up here. Shift Z. And I'll hit the G key and move this up here like this. Could probably turn it a bit, scale it up a bit. Just want to put it in here about like this. And then I'm probably going to have to move this. Move it over. Let's see if we can get it in the center. Maybe I'll move this and select this vertex here. Move the cursor to it, shift S2. And then we can take this, snap it to the cursor. So Shift S and then eight selection to cursor. There we go. Now we can just drag straight up and it's in the center there of the piece. Alright, what do we think? Yeah, I don't mind that. That's, that's okay. Alright. So we've got that there may be more to this area in here. I'm not sure. But let's get that curved piece that we were just talking about. This piece right under the light. So to do that, I think I just want, well, I think I just want a polygon plane down here. Once again, Let's tab into edit mode and let's maybe select this point here. Now, let's select this edge right here. So that, that pivot point right there is where we want to take the cursor, shift us to go. Now when we create a polygon plane, it's going to be right there. So let's take this and let's turn it a bit. Scale it down a little bit more, turn into bed and put it right in here. Kind of like this. Let's split it. I'm going to press Control R and just hit Enter twice to add an edge right down the center. And then I'll select this face here and delete faces. And then we want to add a mirror modifier to this. Right here we go, and let's turn on clipping. Now, if we tab into edit mode and select just that edge, what I want to do is bring it out and bring it right down to where it needs to be. So I'm going to go to the three key here. And then I'm going to hit G and move this down. And I'm going to turn it, Shift Z to go to wireframe. And let's bring this right down into here like this. I'm gonna go back to global. Bring it down to its right there, right in here, let's say. Okay, so now that's there. Now we just need to add some edges to give it that curve that we see here. So I'm going to do is press Control R and come up here. And then let's just bring this out like this and up. And let's go to the side view. Maybe you can bring it forward just a bit. And now if we do this again like this, now let's bring this out and maybe up a bit. And then we do another one here. Maybe bring this over like that, right? So we've got that basic shape. Now if we go to the side view, we can see we've pretty much got that shape. Feel like minds a little bit too wide, maybe I can press S and Y and scale it in just a bit. And let's first of all give this a solidify modifier. I'll do that first. And before we do that, we should apply the scale control, a choose scale. Now let's apply a solidify even thickness. And let's bring that we get a thickness that we kind of like they're okay. That's not bad. Let's go ahead and smooth it and turn on auto smooth down here. Maybe pull that up just a bit. Okay? And then let's also add a subdivision surface modifier to smooth that up a bit. There we go. Do you like I need to either move this subdivision surface up. There we go. Let's move the subdivision surface up in the modifier stack, just so we get the thickness first there. And then let's also tab into edit mode. And let's add, Here we go. Let's add an edge right in here. There we go. We could increase the subdivision levels if we wanted. And that would help with that curve. Feel like we need to now bring this edge up into the light a bit. Let's turn on the cage here, grab that edge and let's just bring it straight up. Alright, so we've got that piece. In the next video. Let's add a couple more connecting pieces through here. And then maybe we can move on to another part of the bike. 29. Finishing Details Around the Handlebars: Now I see here that I've forgotten to add a connecting piece on the top of this. So I think I can just take this piece here. Let's change to local transformation with the period key. And I'll just go to the side view and wireframe. And let's press shift D Z and just move this up. And we'll just put this right up in here. I'll scale it in the z with S and Z. Maybe tilt it a bit. Let's see if we can kind of get that in here and have it look. Okay. Yeah. All I wanted to just something to connect that up. And then we've also got this area down below here. So down below this brace in the front Fork, we've got something down here. We've got another cylinder type thing and then a plate coming out the back and you can see that right here. I think that's that plate there. So let's just take this then. Let's duplicate this shift D z, and let's move it down here. Then from this piece that plate can maybe come out of. Let's try that. I should probably close this off again. Let's do that. I'll Alt click this edge here and press E, S, scale in a bit, and then M and center there. Okay? And then if we just take this here, shift us to, to move the cursor to that origin, shift a mesh plane. And now we've got a plane that we can work with in here. So if I just take this plane and kind of align it to this part of the reference image like this, maybe. And then let's scale it in the x. There we go. And let's just select this edge. And then let's just hit E and y and pull out here, hit the G key and bring this up. You can see there's a turn there like that. Let's actually bring that up like that. And then once we do that, let's bring this straight down in the global axis like this and get it right between those two things, maybe we should do that. It looks like there's a bend or something to it. I'm not quite sure, but we can at the very least just take an edge or put an edge in the center here and maybe kinda just bend it a bit. This Arduino. I'll smooth it. Let's add a solidify. I'll apply the scale with Control a and choose even thickness. And then let's just bring that down like this. Let me turn on auto smooth down. Here we go. Yeah, that could work and maybe I should take this edge right here. And let's press Control B and bevel this out to smooth it a bit. And then we should probably work on this piece right here, that cylinder. Let's do that. Let's add that piece in here. Now. I'll press Shift Z to go to wireframe. And here is that cylinder that we want to add right here. So I'll press Shift a mesh cylinder and let's take this cylinder down to 0, say 16 sides. Let's choose nothing for the cat Phil. And I can bring this down to say 0.1 and 0.2 just to make it a little bit smaller. And let's come over here and begin scaling this down. Scaling the Z a bit. I'll turn it. Alright, I'll switch to local transformation mode, scale in the z. And let's bring this out like this. Alright, so we've got that. Now let's bring it out into place. Let's go to the one key and wireframe and see if we can see where this should go. I'll bring it out to about, I feel like it's right in here. I'll smooth it. And then we need to work on this right here. You can see how it goes and bends in a cross where the coils are. So let's think about that. I'm going to tab into edit mode and press Control R. And let's add an edge loop right in here. Let's see where that is. Looks like the bottom is right here. Let's try this. So what I will do is just use these bases here. I'll Alt click between two of them. Select that whole face loop, and let's duplicate it. Press Shift D and enter. And then we can use our shrink fat and tool over here. I'll press Alt S, and let's move the mouse a bit to kinda puff this out. Something like this. And we go. And then let's split it off with the P key. And separate by selection. And then I'll just select that one piece. I'll press the two key to go to Edge mode, and then I'll click this edge here on the top. And now we want it begin extruding back into here. And I feel like it's fairly tall and thin compared to this cylinder. So what Let's do is let's hit E and Z and bring this up. And then let's scale in the y with x and y like this. Let's maybe scale it in the x just a bit and then move it back some like this. There we go. And then I want to keep going this way. I'll press E Z and bring that up. I think I want to turn it now toward the center. So let's try that. Let's press E, z or y, and then move it in the x. So easy. Ry, move it in the x thing and see what I'm doing. I'm just kinda giving that curve. And this is the kind of thing we can do by hand rather than setting up the spin tool. This can sometimes be just a little quicker if you wanna do it this way. And let's try that again. I'm going to press EX and then RY kinda turn that like that. Bring it up a bit like this. There we go. Now we've got that basic shape. We can begin to just bring it into the center now EX, and I'll also press sx zero to flatten it. And now we could add a mirror modifier to this. So we could come over to the modifiers panel, add mirror. And there it is. There mainly because the center of that object, the pivot point is here. So we should really move that down to the 3D cursor. So let's come up here to object set origin and origin to 3D cursor. There. There we go. Now we've got them on both sides. Alright, and then we can take these, this edge here. We could turn on clipping. We can turn on the cage or the other side. And we could just drag that straight into the center and they'll clip there. Alright, let's also close this up here. Alt, click this edge and hit E and S and close that up. There we go. And then we need to figure out some connecting pieces in here. We could actually take this whole thing right here. Let's Alt click these bases here. We could take that whole thing and use it to kinda cover this up. So let's think about this. Maybe if we did, maybe if we took these faces here, I'm just going to select all of these right up to the top there, that half, right? And I'm going to extrude these forward and the y, E, y and bring them forward like that. See what happens here. Right? It just kinda hides it. That's not too bad actually. So yeah, this works. I think let me just hit the a key and I'm just going to bring this up as smudge like this. Yeah, that kind of works to close all that off. It's a little ugly in terms of smoothing. Let's come down here and turn on auto smooth. But if we drag it all the way up to 180 or even 160, Let's say That's not too bad. We could add an edge loop in here to clean up this in here, just Control R and move this back like that. That can help clean that up in there. Now, one other thing I've seen in here is this piece right here. There's a bolt that comes out and goes through that. From here. Let's maybe take this point right here and bring the cursor to it with Shift S two. And then I'll create a cylinder and it'll pop in at that point. Let's then scale this way down. And then let's turn it like this. Hit the R key and turn it. And then let's scale out and the z. Pull this out like this. And then let's bring this in. Kinda like this. So it's coming through this piece here. Let's try this. Maybe like this. Let's smooth it. Alright? And then let's add a bolt here on the end. So maybe we could grab a bolt from here. Let's do this again. Let's just grab this and this shift D Enter Control J to join them together. And then let's bring this over. Hit the G key and move this. And let's hit the R key and turn it. And let's just put this right here. Let me scale it up a bit. I still need to slide it over. Let's do that. Slide it over here. Put it in place right here. So what do we think? Yeah, I mean, that kind of gives us the sense that we're going through that. Alright, I think we've got enough of the connecting pieces in here. In the next video, I think let's move on to other parts of the motorcycle. 30. Beginning the Speedometer: For our next object, Let's create this speedometer piece right here. It's got some interesting things in it, and it actually might be a little difficult. Let's zoom in to this with Control Spacebar. And there's a good bit of this that I'm not going to really bother with these little indentations here and here that don't really seem to serve a particular purpose. I don't know that I'm really going to work too hard to try and get those. I think just working on the general shape of this is gonna be difficult enough. So I think let's try and keep it relatively simple. Having said that, I think it's still provides quite a bit of challenge. Looking at this, you might think, well, maybe I could begin with a cylinder here and extrude down and then extrude forward like this. But I think one of the biggest problems for this is how it kind of molds to the gas tank. This particular triangular shape and the molding to the gas tank, I think are two fairly difficult issues to deal with. And for something like this, I usually like to try and deal with the hardest thing first in an object. So my guess is that this shape here is gonna be the hardest part of it rather than the cylinder. So I think I want to begin there, but let me first place at least a temporary object for these gas caps on the tank because it does look like it bends around these and I just want to put these in place so we know our boundaries here. It looks like, well, let me just tab into edit mode here. Maybe let's select a point here and press shift us to move the cursor. It came in over here since we have a subdivision surface modifier on this. But let's press Shift a mesh and cylinder. And I'll just put this 24, let's say, and I'm gonna bring this down to 0.1 and point 2.4, 0.1 and 0.1. I'll change this to a triangle fan, but honestly, I'm not even sure if this is really going to be the final objects. So let's just see what we can do with this. I'm going to press Shift Z and press the G key and move this into here, let's say. And maybe scale it in the z. And I'm still in local transformation mode. So when I turn it, the transformation axes should come along. So I'm going to press RY here to tilt that a bit. I'll press Shift C. Let's press RY again and maybe like this and now just bring it in and the z-axis tend to be kind of intersect with adhere and maybe something like that. Let's just see how that works. We could, if we wanted to go ahead and just move the cursor to the center of the grid. Move the origin to 3D cursor and then mirror this over here with our mirror modifier. It's way over here, which means we've got a problem with the rotation. So let's press Control a and apply the rotation. And there it is, there. Alright, so we know now that our speedometer has to come between these. So I think let's begin with a circle. I'm just going to press Shift S two to bring the cursor here, and then shift a mesh circle. Now here it is, here. Let's scale it down quite a bit. And I'll go to the side view and let's get it generally in the right shape and in the right position here. Just going to continue to scale it down a bit and move it. So it's about like this. It looks like it comes two right here, right? Alright, so there we've got the general length of the object. I'm also going to press Sx and scale in the x a bit here, like this. And then I think I want to mirror this over. I'm going to tab into edit mode. And if I go to the top view, I just want to remove this side over here. So maybe I'll just click and drag and select these and delete and delete vertices. Then we can come over here and add a mirror modifier, turn on clipping, turn on the cage, and there we go. So now we can see it there. The next thing I wanna do is actually shrink wrap it to the gas tank. Since we've got it kind of molding to the tank here, I think we can use our shrink wrap modifier for this. So let's take this and let's add a shrink wrap to adhere. Let me pull this up a bit. Here we go. For the target. I'll click in here and type in gas tank. And let's just select that one. And now you can see it's snapped down to the gas tank. Now we can turn on the cage here and that'll snap the vertices down there. There we go. Now we've got it snapped to the gas tank and we can then come in here and just began hitting G and moving these around because Since their snap to the gas tank, they aren't going to lift up in the z-axis or anything. So we can just move them around like this. And then it looks like these come out about like this. And I could maybe delete. We can probably delete these in here. Let's try that. I'll just delete vertices. And then these would probably, maybe come out a bit like this. Now the next thing I wanna do is get this cylindrical piece back here. So what Let's do is create another circle. And we'll use that to create that piece back here. So let's press shift a mesh circle here. Let's scale it down quite a bit with the S key here. And I'll go to this side view. And let's scale it down. And I'm going to hit G and move it, hit R and turn it so we want to scale it down so it fits. Let's see if we can get it to fit right in here. Maybe something like that. Right? So that's the top of that. Let's also bring it down here. Let's duplicate it. Shift D, Z and bring it down like this. So we have it right down here like that. Then we want to delete all the parts that are under here that we're not seeing right underneath the gas tank. So what I'll do is I'll just select this and Control click this and control-click here and here. Alright, so we just have these selected. So now what Let's do is invert the selection with Control I. Or you can come up here to select and invert here. So I'll press Control I, and then delete and delete vertices. Okay, now we've got the basic outline of that cylinder. And actually if I'm going to join it with this shrink wrapped piece, I don't need this side because it's mirrored over. But before I joined them together, think what I wanna do is actually apply the shrink wrap modifier. And I think I'll offset it just a bit. I'm going to click and drag in here. And as I do, you can see it kinda brings it up out of the mesh. I want it to come up out of the mesh just a little bit. You can see how it's kind of up off the gas tank here and maybe I'll bring it up like this, something like that. Then we can apply this now. But since it isn't at the top of the modifier stack, we might get a problem if we applied it here. So what I'm gonna do is just take this and remove the mirror and then apply the shrink wrap and then add another mirror like this and turn on clipping and turn on the cage. And so we have it now, so it isn't shrink-wrapped, but it is mirrored over. Alright, so let's now take this piece here. Let's tab back into edit mode. And I think I will just select half of this, this side and delete these vertices here. So that when I take this piece and then select this piece and join them together, Control J. It now takes on the modifiers of the last one we selected and adds a mirror here. Alright, so we've got that. Let's tab into edit mode. Now we can just take this and this and merge these together at the last ones selected. So I'll press the M key and choose to merge at last. There we go. Alright, so now we've got the basic outline of this piece. And from here we're just going to use extrude and fill and bridge edge loops to create all of this in here. The one other thing I'd like to do is to add this circle right here. And I think we just need to add yet another circle. And I'll just maybe select this and move the cursor to it, and then press Shift a mesh circle. But this time, I think we only need about half of the vertices here. So I'm just going to take this down to 16 and then shrink it down and put it in place right here. So let's just G and move this up here. Turn it, shrink it down a bit. So we have something about like this, Let's say. Alright, so now we've got our three main shapes for this piece. And as I said, now, it's just a matter of going through and filling in the polygons. So in the next video, we'll begin doing that. 31. Continuing the Speedometer: Well, to begin putting polygons on these, I'm going to need to combine all of these objects together into one. Which makes me think I'm either going to have to remove half of each of these so that we can apply the mirror modifier to them or go ahead and apply the mirror and continue on without it. I think I will just continue on without it for now. Let's just pull this down and click Apply. There we go. Now we can take all of these and join them together with Control J. Now when we tab into edit mode, they all go into edit mode. Alright, now that we have this, let's select this whole edge right here. I think what I wanna do is get this little ridge right there all the way around. Do you see that? So I think I can just hit E and Z and pull up like this. And then maybe E and S and scale in just a bit. It looks like it's doing pretty well on all sides, although maybe I'll press S and scale that in just a little bit more. Alright, so there we have that edge. And then we could take this point and control-click on around to this point. And we've got, let's look down here. We've got 14 edges. And if you don't see this information, once again, you can just right-click here and choose what information you want displayed here in the status bar. So I've got 14 edges there. Well, let's see if I take these over here, like this. What do I have now down here? 29 ". So I've gone a little too far. It looks like I added one extra one right here. So now yeah, that's 28 now. Okay, So I just wanted an even or an equal number of edges between those two so that when we bridge edge loops, control E ridge edge loops, it will connect those up uniformly. Alright, so now we've got that. And then what I'd like to do is take this edge or these points on around to here. And let's extrude those down as well. Let's come to this side view and press E, z and extrude these down to here. And now we just need to connect these up. If we press Control R and add an edge right there, we can then take this edge and this edge right here, these two edges. And we can go to Vertex, new edge or face or the F key. So I'll press F. And there we go. I'll take this one and this one, and press the F key. And there we are. Alright, so now we've got a little geometry on here. We could also come in here and begin connecting up geometry in here. So maybe if we selected edges here and here, and here, and maybe these four as well, we could hit Control E and choose bridge edge loops. And there we go. But do we need a little, well, we kinda need a little ridge here. So let's, let's undo this and then get a little ridge here first. So maybe we could just extrude up. Let's press easy and pull up just a bit. And then let's extrude and scale in with E and S. And then maybe we pulled down, Let's press E, Z, pulled down a bit and then scale in some like this. So that'll fit this silver piece in there. And then what we can do is come through and grab these edges here. These edges here, and bridge edge loops with Control E. There we go. Yeah, I just wanted that little ridge there. We just need to kinda build these pieces in as we're going. And then maybe we could connect, we could connect sum up here. Before we do that, let's work on these little pieces here. Now that I see this, I maybe should have gone ahead and added a mirror modifier to everything, but we can always come back and do that. What I wanna do is just extrude this out. I just want to hit E and Enter. And then I just want to grab this little blue square here and drag this out, something like this. And what that little blue square does is it's the same thing as pressing Shift Z to turn off the z-axis. So the square that you click and drag on turns off the axis, that is that color. If you click and drag on the blue square, it turns off the axis of that color, or the z-axis. And maybe we could just grab these here, Hit the I key and inset in a bit. And then maybe we could just hit E and pull down a bit like this. And then we can begin connecting up the things on the side here. So like this edge and this edge, we could hit the F key and connect that up. To continue on, we can just select this edge and then hit the F key again. And it'll just know what we wanna do. It'll just know that we want to continue that on. But maybe we don't. Maybe if I press Control Z to undo, maybe I actually want to add an edge loop right here. And then let's hit F and F so that they're more straight up and down as we bring them forward. From here, let's add or let's bring this whole area up a bit like this. I'm just going to hit E and Z and pull it up a bit. Maybe pull it in just a little bit like this. There we go. And to connect this up, I can press Control R and then pull it out. Just a bit like this. You can see I'm just beginning to build this up, build the polygons up in a way that they'll connect one to another as we go. We go. Alright, and once again, just like up here, I can add an edge loop down here and then connect these two up. I can take this point and this point, the M key to merge them at the last point selected right there. Now we'd like to take these and move them up again. So maybe this and this. And let's hit Easy and pull them up and then pull them in a bit like this. And once again from here, I'd like to add an edge right here. And then these two edges here could come up, Good, press E and Z and bring them up. And then bring them in like this and begin connecting them up here. So maybe I could scale it down a bit and began kind of getting these inline here like this. Press the one key, select this vertex and this vertex and press M and merge it last. And then we begin moving these down and knees and connect these up here. And at last, now let's take a look at it. Alright, so we need to kinda bring these down a bit. Alright, and what more can we do here? Well, we could probably add an edge loop here and then connect these up right here with the F key. And then we can add yet another edge here and connect these up with the F key. And now maybe we could select all these three, hit the F key and connect those up. And maybe we could take this point and move it a bit. These may be a little bit out of alignment to be able to actually connect up. But let's see, let's take this edge and this edge at the F key. Yeah, that works. Now down here we can take these and hit F, and then this and hit F again. And we can then grab these edges here, Let's say these three and we can bring these, we can hit E and bring these out like this. Maybe move them over a bit, scale Amanda bit. And then we can connect them up here. We could take this point and this point merge at last. Well, before we go any further, let's go ahead and split this and mirror it over. I'll go to the top view. I'll press Shift Z, go to face mode, and I'll just click and drag and just select one-half and delete faces. And then what Let's do is just add a mirror modifier, turn on clipping and turn on the cage. And so there we go. Now we've got two sides here. So in the next video, we will keep moving, keep continuing on and try and finish this up. 32. Finishing the Speedometer: Continuing with the speedometer, we can connect these points up or these edges, I should say, right here with the F key. And then we could maybe connect, say, this edge and this edge. Let's try this now. Maybe this edge and this edge. Let's try that. Let's hit the F key here. And then we maybe be able to hit the F key here and press Control R and add an edge loop right down the center here so that we can now maybe connect up this one here. So if we connected this point and this point here, then maybe we could select this edge and this edge and hit the F key. And what I'm trying to do is just maintain quads all the way through here. Just try and create polygons that only have four sides. Sometimes we have to do three, but hopefully we can keep from doing more than four because our subdivision surface modifier does not appreciate trying to smooth polygons have more than four sides. So I'm gonna take this and hit the F key here. And this, and this. They can see what I've done here. I've just kinda connected these up in kind of a fan pattern around that circular piece. And once again, I've just tried to maintain polygons of four sides only. Alright, so what let's do now is let's add a subdivision surface modifier and see how it takes it, see what it does, see if it's at all happy, and then go from there. So I'm gonna come over here to the modifiers panel. Choose subdivision surface. I'll right-click Shade Smooth. And it's looking pretty ugly around here. We could turn up the subdivisions to hear, but still it's kind of ugly. And let's just take a look at what's happening here. I'm going to turn on the cage. And it just looks like we've got a point that isn't connected here. I think that's our problem, or has been connected to the wrong place. I think this is what I've done. Yeah, so I think I've connected this to the wrong place. So here's yet another tool that may be useful. I'm going to turn off the subdivision surface modifier here. What we can do to break this apart is we can use the rip tool. And you can come up here to vertex and rip vertices or the V key. And if you hit V now and move, you can separate that point out from the others. So I can move this back now to where it should be. Then instead of connecting it to this point down here, I want to connect it to this point right here. So let's press M and merge at last. Alright, so now let's turn that subdivision surface modifier back on and see what happens. Alright, I think that's looking pretty good. There are some things in here that we could maybe pull down and rearrange. There may be some opportunities to come through and pull some points to get it a little bit more the way you want it. But I think that's looking pretty good so far. And then up in here, we've got some points being pulled here. We could add an edge loop and bring it down to clean that up just a little bit like that. So let's extrude this up and in to get that rim of the dial. However, you can see that our pivot point is here in the center of this half of the selection because the whole thing is still mirrored over. What Let's do is let's apply the mirror modifier before we deal with this up here. So I'll come over to the mirror modifier and click Apply. And now you can see that that pivot point is in the center of that circle and that's what we want. So let's press S and scale in a bit. I'll press E z and pull up a bit. Es, pull in. Easy, push down. And there we go. Now we could, if we wanted to go ahead and close this off, I'll press easy again and bring it down a little bit more. And then E, S and bring this in. He asks again ES. And now we can go ahead and merge these together. Press the M key and merge at the center. Alright, let's take a look at it. Alright, the next thing we should do is this little silver piece right here. It looks like it could be another circle and we could just extrude it up. Let's try that. Let's select this right here and press shift us to. And then let's create a new circle, shift a mesh circle. And for this, I think we really only need 16 sides. That's what we had for that other one in there. So let's go ahead and do that. And I'll scale it in. Let's bring it in here and I'll go to the side view and press Shift Z to go to wireframe and let's tilt it so it's in the right angle here. And then I'll scale it in something like this. Shift Z. I'll bring it out a bit. It's still a little too big, so let's bring that in some I'm just going to bring it in down like this. Now let's extrude it up so I'll tab into edit mode. Let's take a look at it. Here it is. I feel like it's not quite in line here. I'm going to turn it just a little bit in object mode. So our transformation gizmo turns as well, and then tap back into edit mode. And now let's hit E and Z and pull up a bit. And maybe up to here. And then let's hit E, S and scale in a bit. Maybe all the way into here. Let's hit Easy, pull up. S. Maybe I'll bring this up just a bit. And then EEZ pull up and bring this in. And then I'll press the M key and merge at the center. Now, I'm going to add a subdivision surface modifier to this and it's going to collapse terribly. But let's try it. Here we go. I'll smooth it tab into edit mode and you can still see the cage here. I haven't turned on the cage to have it mold to the sub-divided mesh yet. And I haven't done that just so I can see what I'm doing here. So I want to bring these in, maybe bring that out. I want to add one in here. Maybe add one right in here. This. And what I could do also is in face mode, hit the C key circle, select these faces here, and then I can hit the I key to inset just to bring that in to kind of tighten up that edge there as well. Yeah, that's pretty good. Maybe I'll scale it out just a bit. There we go. Yeah, so that's that basic shape. Now, there's more going on here that it's kind of hard to tell. I don't know that I'll deal with that quite yet. But I think that's pretty good. That's what I wanted was just that basic shape without all the little extra indentations of the speedometer there on the top of the gas tank. 33. Beginning the Chain Cover: Well, for the next object, I think I'd like to work on this piece right here, that chain cover. I've got a few reference images over here in these windows. I've got images 3,613.30, 602. But I think I'd like to work on this because it really seems like it's just gonna be an extension of the way we created the speedometer. I think I'd like to just create two circles, one here and one here. Extrude them out and then connect them up with bridge edge loops or create face or something like that. So I think it's really just kind of a very similar process to what we just did. Let's work on that. But before we do, actually, let's clean up the outliner. It's kind of a mess over here. And instead of trying to pull these down, what I'm gonna do is just come up to the top and right-click and choose duplicate area into new window. And that will just allow us to create a new window of just the outliner here. And we'll be able to maybe do a little bit of organizing in a more efficient way here. So we've got our unnamed objects here. Let's just go through and see what we have. So this is part of the speedometer. And so is this which I think we could just call part of the, of the gas tank. Let's do that. Let's select these three and then let's hover over this and press M and create a new collection. And we'll just call this gas tank. Just so we'll put these things in there. And then let's see what these are. That's part of the handlebars. So let's drag that up. So just go through and begin organizing your objects into collections. As I've said, I'm not going to be naming the objects at this point in time, just putting them in collections. And for these, this looks like, well, this is part of the gas tank here. What about these up here? We could say that's part of the headlight. Let's do that. And this once again down here, that could be part of the horn, right? Let's do that. Headlight. This down here. So I think these in here. I'm not sure what we call these. I guess I may just call it the front fork. So let's do that. I'll hover over this, press the M key, go to New Collection, and we'll call this front fork like that. Then we could actually put this bracket, let me just select objects here. We could actually put that bracket in there as well. Like this. Maybe even the coils in that. We can put collections inside of collections to keep things organized. Alright, so now that we've got that, I'll just close this and we have that now over here. And so to begin on this piece right down here, let's create a circle and I'll just press Shift a mesh circle and I'll keep it at 32 vertices. And I do not want any fill, so I'll keep that at nothing. And let's turn this around the y-axis, RY 90. Here we go. Let's scale it down. And I'll hit G and move it over here. And we'll try and get this in place like this. Maybe I'll press Shift Z to go to wireframe. Will probably need to pull this out some. So it's hard to know if we hit the one key. We can see maybe that piece here. But this is such an odd angle. It's really hard to get a sense of what's behind here since we've got a lot of perspective in this particular photo, but I can move this back, maybe right about here. We could also create this circle while we're here. I'm going to tab into edit mode. And I'll press shift D y and move it over here, something like this, and then scale down to get this one right here. Alright, so now we have those two from here and let's begin extruding out. So I think I'll just select one of these first, like this one. And let's begin extruding this out. And well, I'll change back to global here in the x-axis, the global x axis. So I feel like we're back here and I feel like there's just a little bit of a ridge there. So let's get that. Let's press EX and pull out just a little bit. And then E, S and scale in. And then let's pull out quite a bit. Ex, pull out to maybe right about here, let's say. Then we can begin going in for these. I'll press S and go into about right here when there appears to be a little bit more of a blip here. So let's get that e x and pull out. And then we go in a bit. And is there a ridge right there? Maybe there is. Let's see. I'll press S and scale n. Then if we get that little ridge there, Let's press EX, out just a little bit, ES scale in just a bit. And then let's get this part here, e and x and bring that out like this. E S. And we'll scale in and then I'll just press the M key and choose to merge all of those at the center. So that's just a basic outline of this. Let's do the same thing over on the other one here. Let's just hover over this and press the L key here. And then let's come out here. So it just is an extrusion I think out like this. Then ES and then M and merge at centers. So there we've got the basic shape there. Now I feel like we should expand out just a little bit for the rim. So what we could do here is select these two. And what I wanna do is extrude and scale them out individually. Currently, if I did that, they'd all collapsed toward the center here. So what I wanna do is use individual origin. And in fact, I've got individual origin here already. It's usually, or the default is at median point. And since I was doing these one at a time, we really couldn't tell the difference between median point, an individual origins. But with individual origins, what you can do is you can hit E and S and they will scale out individually at the same time. So that's what I want just a little bit on either one of them. And maybe I'll bring this one out just a hair more like this. Then we need to begin connecting these up. So what we can do is select edges like maybe this one, These two here and these two. And press Control E and bridge edge loops here. And then maybe we could select this edge and then hit the F key and just expand these out like this. Let's select this, 123 like this. And can we do another one here? Yeah, let's select this one and go like that. That's not bad there. Now, what we can do is take this point and this point, and we could just expand this out in the z-axis. So S and 0 were not on median point. We need to come in here and change too. Median point with individual origins, each one of those points was trying to scale out on its own and that isn't going to work. So let's press S z here now and extend that out. So it just goes straight out like that. And then we could maybe select this point and this point. And let's try this S Z and bring this one out just a little bit like that. Just so it's got a clean shape all the way around like that. And then we need to take this edge back here and we need to extrude it back. Let's do that. Let's press E X and push this back. And let's take it back to about the frame here, right about here. See how that works. Alright, we've got the basic shape now in the next video, what Let's do is add a subdivision surface modifier and add edge loops to hold the edges. And then we'll also want to create this little area up here with the screws holding the cover on. But that's coming up next. 34. Finishing the Chain Cover: Now the one other thing I'd like to do is just add this piece right here. Let's just tab into edit mode and maybe grab this edge loop here. And let's just press shift D y and move that over. Then we'll just scale it down a bit. And we can put that in here, something like this. And then we'll press EX, pullout and then E S, and let's go ahead and merge these there. Alright, so we have the basic shapes. Now. Let's go ahead and add a subdivision surface modifier and see what kind of work we're going to need to do here. We'll add the modifier. I'll turn on the cage. I'll increase the levels to two. Let's go ahead and smooth this. And now we need to come through and add some edge loops to hold these corners, to hold these edges. So something like this, even though there is a fairly curved edge on here, we still probably need to go ahead and add something in here. And if we select these faces here with the circle select tool and then hit the I key. We can maybe bring this in so we can kinda control how curved or how sharp we want that edge to be. Then maybe let's add one here. And we should probably add one through here. Go ahead and bring this up, bring this forward like this. We could add a few in here. Let's maybe add two in here to begin with. There we go. That just allows these edges to not pull so hard. So let's maybe do this and add one here like this. There we go. Then let's take a look, see how we're doing. This part looks pretty good. This area here, we could probably add an edge in here. And once again with the C key, select these faces, hit the I key and bring these in, so they tighten up that edge a bit. There we go. Yeah, that looks pretty good. And then over here, we need to deal with this. Let's move this over. So I think what we could do is maybe add an edge right in here. Let's try that. Yeah, okay, and then I'd like this one to be a little bit sharper here. Like that. Looks like we have one in here that we could work with like this. Yeah, and then once again into face mode, hit the C key, select all of these, and then let's hit I. And inset this like this. How are we doing here? Yeah. Okay, So the only other thing I can see is we've got this little point in the center here. Maybe we should try and get that. And to do that, we can just hit the I key again and bring this in. And then we can just select this one point and we just bring it out just a little bit there. And we're getting that polling here. We're getting where we can see all of these polls going into that one point. So that may not be the best way to do it. Let's select these faces here. And once again, I'll hit the I key and bring this in just a bit. And let's see how we're doing here. Yeah, I think that's a little bit better. That kinda cleans up that area some. Alright, so I think that's pretty good for the basic shape there. Let's now work on this ridge around where we've got these little extrusions and a screw there. Let's work on that. We tab into edit mode. Maybe we could add another edge back here about the width of this, let's say. Then we could select This whole face loop and let's duplicate this and pull it out a bit. So let's go back to the three key to the side view. And what I'll do is I'll press Shift D and Enter. And then I want to scale out in the z and the y, but not the x. So I'll press the S key and then Shift X. And let's bring this out just a little bit, not a whole lot like that. And then let's split this out as its own object. So I'll press the P key and split this out. And let's go back to object mode and then select it individually. Alright, so if we tap back into edit mode, Let's take a look at it. What I really want to do is add a few edges in here. And to do that, let's go ahead and take away the subdivision surface modifier for this object here. And then let's go through and add some edges so that we can extrude these pieces out. So let's go to the three key and let's figure out where these are. Well, it looks like I didn't make this part quite big enough, did I? But I think we can maybe take care of that by scaling all of this up once we're all done. But if we go to vertex mode, we can see where the edges are. So what I'd like to do is maybe go to wireframe and then click and drag one of these and then I'll hit the G key two times and kind of Go out like this. So I have this area to extrude this out. Let's go see if we can find another one here. So it looks like we need a new one in here. I'll add an edge here. And then let's hit G two times and go down to here, G2 times and goatee here, let's say, there we go. So we've got that base there for that extrusion. And then let's go up here. Here's another one up here. So let's grab this and hit G key two times and move this over to here. It looks like, it also looks like there's one over here. So let's take this whole thing. Let's take these two objects right here. Let's move them over and up a bit. Yeah, I think this can help right in here like this. There we go. Now we're getting closer to the way the reference images. And then we tap back into edit mode. We can see we've got one here. And in fact, what we could do is just remove this edge. We can hit the X key or delete and dissolve edges here. So we just remove that edge, so we have that space there. So we have our faces where we want to extrude these out. So let's go ahead and grab those. Alright, so once again, let's use our individual origins right here. And let's extrude these out. Let's press E and move the mouse and you can see how they're all going out in their own directions, which is what we want here. We go. And then while we're here, let's grab these edges along here and here. And let's extrude these n. So they connect up with the main piece. So once again, I'll go back to global, go to the side view, and let's hit E, S, and then Shift X to turn off the x axis. And let's just bring these in like this. There we go. Okay? Now I think before we add the subdivision surface modifier, Let's add maybe two edge loops right in here to hold this. Let's do that. Okay? Now let's go and add the subdivision surface modifier. And there we go. Okay, let's smooth it. And then let's add another subdivision, bringing the level up to two. Alright, so I think we just need to do a little bit of adjusting here. And let's add, first of all, an edge loop right in here and bring it up into here. And let's do the same thing over here. We probably will never see this side, but that's okay. We can also take this edge and press G two times and slide it over this edge and G2 times and slide it over along those edges. Alright? And then we just need to go through and do a little bit of adjusting. Just in terms of the shape of these. I'll turn on the cage and then I can just take this, just hit G and move it in a bit. So these as well, we could maybe bring these in. Bringing these in so we can just do a little bit of adjusting here. Then we just need to add the little pieces here, these little cylinders. I'm not going to add the flat head screwdriver slot there. We're just going to put a, a cylinder in here. So if I take this face here and press Shift S to, now let's press Shift a cylinder. I'll take this down to maybe 12 sides and we can take it down to 0.01 and 0.0 to turn it into y-axis RY non-zero. Scale it down quite a bit. And we can put it in here. And maybe we could actually take this and press E S, E X E S. And kind of bring that out just a bit like that so we can get a little bit of a ridge on the back there. And if we smooth it, and if we take a look and turn on the auto smooth here, Let's try that. Alright, so now let's just press shift D and duplicate and put these in here. Yeah, I think that'll work pretty well. I may have made the whole thing a little bit too thick, or at least this area here, I might want to say, select this edge here, move the cursor to it, and then select all of these. I'll just press Control and the plus key on the numpad and move these back like this. And then I could change to the 3D cursor and scale here in the x-axis from that cursor. So we can press Sx and just move that back until we get it about the way we want, something like that, maybe. Alright, I think that'll work. We're making some progress. 35. Beginning the Oil Tank and Battery: This was a pretty big piece on the side here, and I think I'd like to try and find other pieces to begin filling in this area. Another big piece that fills in this area is right here. That's the oil can. And it's a wrap around oil can. You can see it here I've found an image on the Internet of one of these 1930s six wraparound oil cans. And the thing it wraps around is the battery, which I think is a little odd. I don't know if that's very safe, but that's the way they did it back then. So let's begin working on this. Let's work on this oil can and then we'll work on putting something in for the battery. This cover, this cap, maybe even the wing nuts here. Let's see if we can do those as well. So to create this wrap around gas can hear, I think I'm gonna begin with a cylinder. So let's go to the side view. And this particular side is really hard to see since we've got so much black in here, and it just all blends together. So I'm going to press Control three to go to the other side. And we've got a little bit more differentiation in here. So I believe the gas can, or excuse me, the oil can goes here, down to here and then over like this, I think that's it there. So I want to move the cursor there. And so far I've just been clicking here and then clicking in the 3D view. But you can also hold the Shift key down and right-click and drag. And that will move the cursor to where you want it to go right there, let's say. And then I'll press Shift a mesh cylinder. I've got 32 sides here, but I feel like that's gonna be too much for having to deal with the inside. Let me try 16. Let's see if that's gonna be okay. I'll type in 0.1 and 0.2 here. And I don't want a cat fill on the top currently, so I'll just choose nothing. Alright, so now let's hit the R key and kinda tilt it a bit. Let's see if we can get it in place here. That's actually not a bad size as it is right there. You like it goes to there. And if we then tumble around, let me go to the top view and press Shift Z. Oh, it looks like we're off here now, doesn't it? We didn't get it in the center. So maybe my moving the cursor that way didn't keep it in the center or I didn't have it in the center to begin with. But we can change that by just coming over here to the X location and typing in zeros and hitting Enter and that'll move it into the center. Now I'm just going to press Shift us one to move that cursor back. And that's probably what I should have done is press Shift us one before I tried to move the cursor. Now let's remove some of the faces in the back here, maybe these six faces here. Let's remove these. And then we'll begin working on extending it back and extruding the insides here. So let's just hit delete and delete faces. And then let's select these two edges and let's split them apart. I'm going to go back to the top view and I've got my transform pivot at 3D cursor. I'm gonna change it back to median point and then I'm going to press S x and move these out about like this. Alright, so we have them out and now we can extrude them back. So if we go back to local transformation and press E y, we can pull these back maybe to about right here, right? So let's try that. It looks as though this may extend out a little bit more. So maybe what I'll do is select these two like this and extend them out. So SX and pull them out a bit like this. Maybe, then maybe we could take an edge here and here and pull these out is to get that more of an even turn there. Yeah, so that just fills the space a little bit more. Then let's think about this internal part. I think for this, I could select this edge and this edge down here. And you know, what we could do is we can just isolate this if I tab back into object mode and then press the division key on the number pad. Here. We'll just isolate that completely. And to go back, we can just hit that division key again and bring it back. So I'll hit that division key and you can see over here we're in local mode here. So we can just now work on this in isolation. So I'll tap back into edit mode and I've got these edges selected. So from this, I can just get E, S and turn off the z-axis by pressing Shift Z. And now just bring these in like this. Maybe something about like this. Let's say. Then we could take these edges here, are these vertices, I should say, and move these back down like this. So they're kind of inline. And we could maybe flatten this area up here. So maybe we take these points here, That's five points and maybe these points here like this. And let's scale these in the y-axis. We can press S and scale these n, or we can just hit the zero key and they'll flatten up and then Enter. And now we can pull these out like this. So that gets that flat part there. Then maybe we could take this and this and extend these out. You know, what we could also do is we can take these, say this and this, Shift-click this and then Control click this, shift, Control, Shift Control to select all of these. And then maybe we could do the same thing with the x-axis. We could scale these in the x-axis. Now, if we do this currently Sx will get this, and that's okay, but we can do these individually. Recall that we've got our individual origins pivot point up here. We can change to that. And then if we press Sx, they will all scale on the x individually. And then we can just hit the zero key and the Enter key. And there we go. Then we need to close all this off. So what we can do is take this edge and this edge and hit the F key. And now, just like we did before, we can select just one of these edges and hit the F key and it'll just fill all the faces all the way around. And then we go, That's nice. Alright? We can go ahead and smooth it and then turn on auto smooth over here. Alright, so we've got the basic shape of the oil can there. Now we need to figure out what we need to do for this cap here. And I think first of all, I'm going to move the cursor here, shift us to, and let's just drop a Cuban here, shift a mesh cube. I'll take it down to maybe 0.1. Here we go. And now if I go to this side view, let's just turn this. So it's in line with everything here. And then I'll just scale this up. So it kinda fits in here. Let's try this. I'm going to scale it down a bit, maybe. So it's inside here. And then I'll pull it up. We could also just take this down like this, just this base here. From here. I feel like we could bring this up and use this to create this kind of top lid here. So if we tab into edit mode and add an edge loop right up here, right like that. We could then take all of these and just use this to duplicate this off. Shift D, enter, scaled up a bit, press the P key and separate by selection. There we go. So now we've got this piece. Now we can begin working on this. I mean, move the origin to the geometry here, scaled in the Z a bit. Now we can begin working on this. So for this, let's go ahead and add a subdivision surface modifier. And let's turn on the cage. And then what I'll do is once again hit the division key on the number pad to pull out of local mode and then hit it again. And then we're just in local mode for this piece. So now I think actually let me turn off the cage here. So let me create two edges here, and S and Y, and scale these out. We are still in individual origins. So let's change back to median point. And recall that we are in local transformation mode as well, SY and bring these out. Let's put two edges here, Sx and bring these out. Let's put a couple of edges along here, Z and pull these out of bed that we can smooth it. There we go. So now we're getting that curved shape there. We could also let me hit the division key and then I'll select these three pieces here, here, here, and here. And let's isolate these. There we go. And so now let's work on the shape of this a little more. Maybe we could take two edge loops here. And we could select these faces and these faces and hit E, S, and X, scale those out as we extrude. That's for these here. And then this little piece on the top, we could get us one of those there. We could select these faces on top and extrude this up like that. We could maybe add two edges here, scale those out. We could add an edge here and an edge here, and then select those and scale those in. And then maybe we take this edge and say this edge here and scale these in the Y S and Y. Pull those in some maybe even pull them down a bit. There we go. Let's see how that works. Yeah, so we're just kinda getting that basic shape there. And we could also maybe take these faces here and pull them up a little bit like that just to get that curve. Alright, I think we're good for this video. In the next video, let's try and finish this up. We'll add the cap here, maybe add the wing nuts. And it kinda seems like we may need to put a subdivision surface modifier on this too. So in the next video, we'll work on those. 36. Finishing the Oil Tank and Battery: Alright, let's do a little more work on the oil tank here for the battery. And let me just take a look at this real quick. I'm going to turn on the cage and select this edge down here. And I just want to hit E S and bring that in some yeah, That kinda cleans that up on the bottom there. We really wanted to for this, we could add one more edge loop, grab this edge and pull it up just a bit like this. A little bit more of an edge there of a curve there, I should say. Something like this. There we go. And for the oil can, let me first add this little cap here. I'll just grab, say, this edge right here and bring the cursor to it with Shift S to, let's press Shift a mesh and cylinder. We've got 16 sides. Let's go ahead and go with that. That should be fine. I'll scale it down, turn it so it's in line with everything here. Press S and scale that down quite a bit. And then let's just work on this basic shape. It looks like two different pieces, but we could go ahead and create them kinda together here. So what I'm gonna do is press E S and pull out, and pull up. And I feel like there's just a ridge there, easy ES and bring that in and pull it up just a bit. And then for this piece here, what I'm gonna do is just duplicate this shift D Enter. I'll pull it up just a bit, scale it out, just a hair like that. And then let's begin extruding this up. Easy. Pull up, pull out, and then pull up in the z, z, something like this. And then I feel like we could go in like e, s like this. Now, for this little thing right here, we could do that. Here. We could, well, we could deselect these here, right? And then we could straighten these up. So if we go back to individual origins, now we could do is press sx zero, and that will straighten those up. Now we go back to median point and press S and scale those n. So now we can bring that in like this. We could take these two and scale these in and the y, x and y. And then we could just select this whole thing, press easy, pull up. And then to fill this area, we could deselect these points up here like this. Then we could go to Control E and bridge edge loops. We can press control are dropping edge right down the center. And then we can just select these, hit the F key, this edge here, and hit the F, and do the same thing over here. Like this. There we go. So now we have the cap to the oil tank. Let's go ahead and smooth it. Turn on auto smooth. Let's see how that works. Now, as I mentioned, I feel like we may need to add a subdivision surface modifier to this just to get those nice curves on the corners. And I've got some blocking this here around the edges. So I think I will go ahead and do that. Add a subdivision surface here. It of course collapses terribly because we don't have very many edges in this. So I'm going to press Control R and scroll the mouse wheel and add three edges here. And then I'll scale out in the z. And then back here. Let's go ahead and add, say two edges here. I'll Alt click one and hit G two times two, slide that edge along those existing edges. I'll do the same thing here, G2 times. And then I'll press Control R and add an edge here. Control are at an edge here. And then let's select those two and hit and G2 times and slide those back like that. Now, we could use our even functionality on the edge slide here we can press the E key and then the F key. And you can see that it changes from being straight to angling so we could move it back so it's in line with that edge. There we go. And we can come down here and make sure auto smooth is turned on. We can drag this up a bit to get those curved edges. That's not bad. Alright, Let's bring everything else back. I'll hit the division key here. And what I'm gonna do now is work on these little wing nuts. We might as well give those a try. And actually now that I'm looking at this, it seems like these are cutting into this particular bar. So I'm going to hit the division key again and then tab into edit mode. And what we can do here is maybe go to this side view and just select these points back here and pull him back a bit. I can maybe click and drag with the box select, but that didn't quite. Get all of them here. So I can change from the box select to say the Lasso Select, and then I can just click and drag and lasso an area around that. There we go. Now if we go back, I can push all of this back like this. So it doesn't cut into that post there. Alright, I'll hit the division key again. And then let's just hide everything. I'll just click and drag all of these and all of these. And then let's just try and get one of these little wing nuts here. Let's press Shift a mash cylinder. I'll take this down to 12, let's say. And then let's scale in the Z a bit. I'll tab into edit mode. Maybe I'll select these here. I'm still on the Lasso Select so I can drag, select those and bring those in just a bit like that. Maybe we should actually just split it in half. Let's do that. I'll select this side. Oh, I'm gonna go back to the box select. I'm just used to that. Here we go. Delete these at a mirror modifier, clipping and cage. Here we go. And then I'll go to the front view. And let's just select these faces here. And I'll extrude out E and pull out a bit. Let's scale in the y-axis, SY, bring that in. Maybe I'll take this edge right here and bring this in like that. There we go. And then these bases in the front view, I'll turn them, bring them up a bit. And then let's just hit E and bring these out like that. We can just take these points and hit G and G. So we're beginning to get that basic shape. Let's add an edge right down the center. Let's do this. Feel like that's a little too much. Let's bring these back down a bit like that. And then we can smooth it. Turn on auto smooth. Grab these edges here, ES s, bring those in. And because we're mirroring, it's only scaling around this point on one-half. So I can take this x axis and just drag it in. We get a little bit more of a circle there. Do the same thing down here. There we go. And then I think I really just want to add a subdivision surface modifier to this and see what happens. Here we go. Alright? Maybe I will drag up in the auto smooth here. And then I might even add an edge loop in here to kinda tighten that up. And maybe one down at the bottom down here. And let's try that. And then I will create a new cylinder. I'll add an end gun on top. Scale it down, Bring it out. Maybe up about like this. Then I will take this and apply the mirror and the subdivision. So let's go ahead and do that. And then we can take this and join it with this with Control J. I'll smooth that again. There we go. You know what we could do to, we could take this. And maybe I will apply the scale control a apply the scale and this edge right here, Let's give it a bit of a bevel like that. This piece here, I'm going to move it up in edit mode so the origin stays at the center of the grid here. Let's bring everything else back. Alright, this. And let's bring it up and put it in place here. I'll hit the G key, scale it way down. And let's just bring it up here. We can tilt it so it's kind of in the right angle here and maybe bring it down. And I'll turn it into z, z zero. There we go. And maybe scale it down a little bit because I'm looking at that behind there. And then let's bring it over here. And then I'll also take it over to the other side. Let's do that. Shift D. Why? Bring it over here, and now we can hit our z and turn it a bit here, our z and turn it a bit here. And there we go. So it isn't perfect. It's got an angle. They're kinda like these. Alright. Yeah, I think that fills that space in pretty well. Do like this though. Didn't quite fill it. There is more in here, but maybe let's just scale this in the Y, S, Y, that out just a little bit. So it fills the space just a little bit more. Alright, and the last thing I wanna do is kinda put all of these in a collection. Let's take all of them, each piece here, and let's bring them out into the scene collection. First, I'll press M and then move it into the main scene collection here. So here's all our objects here. And then what Let's do is let's create a new collection from this. Let's hit em, new collection. And let's call this oil tank and battery. Right? That's what it is. There we go. 37. Creating the Air Cleaner Cover: Continuing with the process of filling in this space. I see that over here on this side we've got this air cleaner cover here. I'm going to press control three on the numpad to go to the left orthographic view. And here we can see that air vent, air cleaner cover. And I've got some reference images over here that I think might help. So let's work on trying to get this in place and see how this might be done. First of all, I'll ensure that the cursor is in the center of the grid with shift S1. And then I will use that trick again of shift and right-click to move the cursor here. And now that should still be in the center because I put it in the center of the grid. Alright, so now let's just create a cube, shift. A mesh cube will take it down to maybe 0.1 here in size. Then we're still in local transformation mode. So that's good. Let's just hit R and turn. And let's get it in here about the right size and angle here. Let's do that. And then what we can do is tab into edit mode, press Shift Z. And I'll just take these points and move them back to here. And maybe take this point and move it forward like this. So we've got the beginnings of that basic shape. And then let's tumble around. I'll press Shift Z again and let's get it in the proper width. And it looks like if I press S and X, it may be about this wide, like this. Let's say. Then we need to pull it out. So how far out do you think it is? Well, that's a good question. So here's that frame here. It looks like maybe it's out about like this. It's really hard to tell on these photographs, but I'm going to say it comes out about to where this is. Let's just put that there for now. And then let's go in and add some edge loops to this. So let me move the cursor back to the center of the grid with shift us one. And I think we're going to need to use a subdivision surface modifier for this, to get these kind of indentations or at least hint at them. I don't think we're gonna get them quite exact. But if we are going to use a subdivision surface modifier, I'm gonna go ahead and add a few edges in here before we do, let me press Control a and apply the scale. So we're all ones over here in the scale values. And then I'm going to tab into edit mode and select this base and hit the I key and just inset in like that. And then let's press Control and Shift Z. And then I'm going to press E, y to move in the y axis here, just in like this, just a bit. We should probably add a few edges here. I think I'm going to add some edges along here. I'll create two and then scale out in the x with S and X. And then let's add an edge along here. I'll bring this down and then I'll hit the E key and then the F key to align it to this side of the object like that. And then these sides here, we really want some curves on there, so I don't yet know where we want to put an edge there. So let's go ahead and add a subdivision surface modifier here. And yes, so now we need to just create an edge and move it in like this. And maybe I'll hit the E key and then the F key to line it up to this side here. And so that kinda curve is about the kind of thing we want here. If I tab into edit mode and then smooth it, this is what we get. We could come down and turn on auto smooth here. And then drag this up a bit, see what that will get us. Then I'd like to deal with these indentations here. And I feel like if we added maybe 12345 edges here, that might give us enough to do that. However, once we do that, that's going to collapse or that's going to tighten up these curves. Let's see what we can do with this. I'm going to press Control R, That's 345 there. Let's do that. Yeah, I see that really kinda tightened up those curves. But that might work though. We could take some of these and move them down a bit so we get a little bit more of a curve there. Let's give that a try. I'll select this and Control click this. And then I'll shift click this, and then Control click this, and let's try that. Then I'm going to bring them in and a z, let's press S and Z. Yeah, that helps move that in a bit. We may need to slide these in some, but that's okay. We'll do that soon. And then what I'd like to do is take these edges here, this, these edges here. And let's just pull these out a bit. I'm going to pull them out just a bit like this. I'll turn on the cage again so we can see that. And then I feel like I'd like to give these a bit of a bevel, let's try this. I'm going to press Control B and pull out just a bit. Hold the Shift key down, and this is about as good as we're gonna get it right here. Let me try that. I'm going to pull those out just a bit more and see what happens here. Yes, So we're getting a bit of that curve there, although that edge here is a little too far forward. So let's see if we can bring this back. I'll hit G two times and bring this back a bit. Collapses my corner there. So maybe I'll take these now and move these in the y-axis or just hit G two times and slide these. So we can control the curve of that bit like that, right? Let's see how we're doing a little bit better. We might be able to take all of these and move these with g two times again and move these back a bit. I that, Yes, So we're getting that sense that we've got these indentations in here. That really may be all we need. We can bring the viewport level up. One. That might help a bit. Yeah, so I think that may just give that sense that there's just some indentations there. Let's also add these pieces here, these screws. Once again, I'm not going to do the straight slot on the flat head screw, I'm just going to add one in there. In fact, what we could do is we could take one of these, let me just grab one of these and press Shift DZ and move this over here. And maybe for the moment I'll change to global and spin this around in the z-axis, RZ 180, like that. And then let's bring it up and put it into place here, Control three to go to the left orthographic view and then I'll hit G and bring this. And maybe right in here. And let's try that. If I take this and bring it forward like this. And then let's maybe add it to this object. So it takes on the subdivision surface modifier, Let's maybe try that. I may take this and move it to where I want it to be. And then I'll press Shift and click this. And then when I press control J, it will add that to the last objects selected. So there we go. And we could maybe add an edge right in here to kinda sharpen up that edge there. Then we just take it and duplicate it. So I'll press the L key here, Shift D, and move this to about right here. Let's say, let's try that. There we go. Now we've got the air cleaner there. Let me go back to the side view and Shift Z and make sure we've got it the way we want it. I may want to increase it in the z just a bit as Z and bring that up just a bit. Now let's try this. Yeah, I think that's going to look pretty good there. In the next video, we'll see if we can find something else in here to begin filling in this space. 38. Beginning the Knuckleheads: Well, while we're here on this side, let's go ahead and work on these pieces right here, the actual parts of the bank that it's named after the knuckleheads here. So let's go to the side view with control three. And let me press Shift Z to take a look at this. And yeah, let's work on this. I'm going to press Shift S1 to move the cursor to the center of the grid and then shift and right-click and move that cursor right there. And then I'll press Shift a mesh cube. Let's take it down to say 0.1, and here it is. Now let's try and get this in shape. I'm still in local transformations, so I'm going to scale this down and hit the R key. Maybe get it right in this corner right here. And then I'm going to tab into edit mode, hit the three key to go to face mode and move this up here, grab this face, move it over to this side. So I'm just beginning to get this general shape here. And then let's move it into the center, or excuse me, move it out of the center, I should say, let's move it out to here. And how far out does it need to be? Well, maybe about like this, it's kinda hard to tell from the pictures, but once again, we're going to have to do our best guess here. So maybe bring it in like that and scale it in some like that, let's say. And then I think I'd like to maybe add a subdivision surface modifier and then put some edges in to hold the corners. So let's do that. Let's add a modifier, subdivision surface, and I'll right-click and shade smooth. And then if we tab into edit mode, we can see the cage there. So I'm going to press Control R. And let's just go through and add some edges to kind of bring this back out to the shape that we want. Something like this. We're probably going to need to in here at least to do that and maybe scale out in the X to bring these out like that. I think what we'll need to do from here, Control three is extrude this piece out. So let's add an edge in here, maybe right in here, and put it say right there. So we have a few basis to extrude out here. So I'm just going to grab these and these on the corners. And let's just extrude this out. And I'll press the Y key here to bring this out like this. And then we probably need to move these around a bit. Let me hide some things. I feel like we're kind of struggling against these other objects. So let me just hide these. There we go. And maybe if I grab these points and hit G and kind of move this in a bit. And maybe I can just grab these and drag these down just to get this piece here. It looks like I've pulled it out a little bit too much. Let me bring it back in some like this. Alright. Then we need to bring this up right in here. Let's do that. I think we could just insert an edge loop, maybe in here, and try and bring these up. So if I drag select these and shift drag select these, maybe pull this up. And we're going to need another edge here now, aren't we? So let's do that. And then let's grab these and bring these down. Kind of like this. Let me turn on the cage now. There we go, so we can see that a little bit better. I'm just trying to get these various pieces in place. Maybe this can come back down. There we go. Let's take a look at it. Alright, I think we're getting there now. The next thing, you know, it looks like it's curved here. Let's see what we can do with that. And maybe if we took one of these edges, may be this one right here and pull it out a bit. But let's turn on the proportional editing tool here. And then I'll press gx and scroll mouse wheel to bring that influence, ends this out and then increase the influence just a bit. Maybe like this. Let's try that. That work. Yeah, That kind of gives us that curve. And then there's this thing right here. I'm not quite sure what we wanna do with that. It very well could be that we could take a few faces, maybe like this, and maybe extrude these out. Let's see if we can do this. So let's just hit E and pull these out a bit. Alright, so there we have that and that's pretty ugly. Yes. But what we can do maybe is take some of these edges, maybe like this and hit G two times. Oh, I better turn off the proportional editing. Turn that off here or the 0 key. You can toggle that on and off with the 0 key. And I'll hit G and slide this this way. And maybe Zhe and kinda slide this like this, and then bring this in a bit. And maybe if I take these and hit G two times and slide these, and then these as well. I'm just going to pull in the y and then maybe pull this down a bit. So you can see, I'm just trying to get that hint there. Let's maybe take these and pull these this way. Then maybe pull this this way. Let's see if this is going to work at all. I could actually take these edges here and see if we can do anything with these edges right here. Maybe we could make them sharp. Let's try that control E and mark sharp. Let's see what happens here. And then we need to turn on our auto smooth. Right down here. Helps a little bit. Maybe. Let's pull these in a little bit more. Maybe if I drag the normals up a bit, Let's try that. Yeah, actually that's beginning to get there. What if I increase the subdivision surfaces here? Let me try that. All right, that's a little more interesting, but I've got all this in here. So let me move this a bit. And then maybe try and move this a bit. Yeah. So I feel like we're getting there. I feel like that's pretty good. I might play a little bit with this up here, kinda sharpen that up there. Then let's add the actual knuckles here and let's do that. So I think we can grab those from somewhere else. Now, let's bring these things back here. And I think if we grab this piece up here, let's grab one of these. Yeah, this might work for one of these things. Let's grab one of these. I'm going to change from local to global. And let's press Shift X and bring it out like this. And then I don't need this bottom part here, so I'm going to press the L key down here and delete basis there. And then let's also turn this. So it's a little more in line with the global axes. So something like this. We can see that we've got rotation in the x. Let's just zero this out and see what happens. Yeah, that's better. How about we zero these two out as well? There we go. Yeah, that's kinda nice. Okay, so let's take this and move it down here. And let's turn to in the y ry90. Well, that's the wrong way. So let's hit the negative key and spin it around. There we go and enter. And then I also want to take it and just extend this out just a little bit so you can see how the rim around this is a lot smaller than here. But think what I wanna do is maybe alt click these faces here and just use Control numpad plus to expand the selection. And then I think I'm just going to scale out. I'll hit the S key and scale out a bit. Let me pull it back out because it pushed it in some, let me do that. We go. And then I think what I wanna do is select that edge right here, move the cursor to it, and then scale from that 3D cursor. So I want to grab all of these again here. Control numpad plus. And let's scale in the x from that 3D cursor. Let's bring that in like this. Just as a little bit flatter. Yeah, and then let's bring this back in into here. Let's scale it up quite a bit. Let's hit the S key and oh, well that's a problem. Oh, I've got the 3D cursor is still selected. Let's change back to median point. Here we go and then hit the S key. Yeah, that's a little better. Then with this, I could begin to maybe move these in local mode. Just kinda move these around to get them in place. Alright, and then what we need to do is just take this guy, shift D, maybe turn it a bit. It's not bad. I feel like that there needs to be another edge down here, maybe right in here. Let's try that. And when I do that, I've gotta bring this edge back out like this and maybe bring this back. So let's see how that works. Yeah, that makes that bottom edge a little cleaner. I think it looks like it needs to go back into or underneath the gas tank here. It looks like that gas tank is maybe hollow underneath. If I move these here, they're going to move in their own local position. So I better switch to global to move it back like this. And so maybe if that's back there, maybe that comes in a little bit more like this. And lastly, I want to make this a little bit taller. Let me select these, hit the division key on the numpad to isolate it. Then I feel like I want to pull this up, pull these up just a bit, right, let me turn on the proportional editing tool. I'll change it to connect it only, it only pulls this part and not these pieces over here. I'll change to local again, hit G, z. And let's pull this up just a bit like this. So we get that rounded top there. I just wanted that. Alright, so there we go. We've got the first one of these little knuckleheads. There may be more I can do, but I think that's pretty good. I think that'll work and blend in with everything else in there. So in the next video we'll, Let's do is let's duplicate and mirror that over. And then we'll create these push rods going up into them as well. 39. Finishing the Knuckleheads: Well, to duplicate this and mirror it over, we're going to have to make a decision here. These pieces really aren't able to be subdivided. They have so few polygons that if we sub-divide one of these here, it will just collapse. So we really don't want to do that. So to add these pieces to this subdivided piece here would kind of be a problem. So the next thing we could do is go ahead and apply the subdivision surface modifier here. But if we then turn off optimal display, we can see that's a lot of polygons for that small piece. Do we want that? Well, there are only two of them, which helps. But we could also turn it down to one to viewport level one. And let's see how that looks. Is that acceptable? There are some artifacts here that I'm really not liking. So for me it is important to have that to subdivision levels on that. So I think I am gonna go ahead and apply the subdivision surface modifier for this before I join these together. Because as I said, there's only two of these. Still. It is kinda high poly, so it's really a balance. What your model is going to be used for. It's gonna be used for say, a video game. Maybe you want to default to fewer polygons. However, if you're gonna be making a game in something like Unreal five for a PlayStation five. Well, maybe you don't care how many polygons it has because it'll accept and be fine with a whole lot of polygons. So it really depends on what the model is being used for and where it's going to end up. But for this, I'm gonna go ahead and apply the subdivision surface modifier here at two subdivision levels. And then if I tab into edit mode, you can see that's a lot of polygons, but I think it's worth it. I'm going to select all of these and press Control J. And maybe I'll smooth this again. Here we go, and maybe come over to auto smooth and see what I wanna do here. So do I want to maybe increase this to here? Let's say. Yeah, I think that's okay, I think that'll work. Alright, so now that we've done that, I'm going to move the origin to the center of the geometry here. Then what I wanna do is duplicate it and mirror it over to this other side, because as you can see, it's kind of a mirror image. So let's go ahead and press shift D and Enter. And then I'm going to press Control M and the Y key to mirror in the y-axis and then hit Enter. And then not only did it and mirror it one side to the other, but it also mirrored the angle, which is kinda nice. So I'm gonna hit G and move this over here. Kind of put it in place here. I'll press Shift Z, and let's take a look at it. Maybe I'll move it over, something like this. Let's try that. Well, now that we have that in place, let's work on these here. The push rods, I think I called them cam shafts earlier. That's a mistake. I think these are the push rods. Clearly, I'm not a motorcycle expert, but I think that's what that is. I'm going to hit Control three and let's work on just creating the cylinders here. Once again, I'm going to press Shift S1 and then shift and right-click and drop that cursor right there. And then I'll press Shift a mesh cylinder. And let's take this down to maybe 12 sides. And I'll take these down to 0.0, 1.0, 0.02. There we go. I'll go back to local transformation mode and I'll press Shift C to go to wireframe. And let's just turn it and maybe bring it down here. So that's about the right size. I think I'll press S and Z and pull this out a bit. Maybe something like this. Let down maybe a little bit. And then we can work on this up here. Let's then press shift D Z and move this up to here. I think it's a little bit smaller. I'll scale it down a bit. I'm going to move this up into here. I guess we don't need it quite that long doing like this. And then I can tab into edit mode and select this edge right here with Alt click and then just press S, scale out. Easy. It that Z key. There we go. Bring this down and then I could hit E, S and scale that in like this. Alright, let's take a look at it. Yeah. I think this could be a little bit smaller. I'll hit the S key and scale that in just a bit more. And then S and Z and scale that out. Alright, now, what I think we should do is get this right here, these pieces right here, these indentations. But instead of trying to cut in to the cylinder the way it is, I think what I wanna do is scale it in. So it's about this width and then extrude it out to get the wider parts. Because I think it's just easier to extrude out rather than to cut in. So what I wanna do is scale this in the y and the x, but not the z. So I'll press S, Shift Z and I'll scale that in until it's about where I want it inside for the narrower part here. And then let's tab into edit mode and insert some edge loops. Maybe one here, one here. And let's put one right about here, and let's do that. And then if we have the three key and go to face mode, let's select these faces here with Alt click and Alt Shift click. And then once again, I want to scale out. Once I extrude in the x and the y. So I'll hit E, S and turn off the z-axis, Shift Z. And let's extrude out a bit like this. There we go. Alright, so now we've got that piece. Let's take this and bring it forward some into here, let's say. And then I think we need to use our subdivision surface modifier for this. In fact, you know what, I think I'm just going to join these two together. I created them as two separate objects, but I think they can be all one here. I'm going to press Control J. There we go. Now I want to smooth it. And then let's come over here, add a subdivision surface modifier so we can get those curves there. And then, well, there's a couple of things I need to do. First of all, it's tab into edit mode. And I just want to select this face down here. Let me turn off the display of the subdivision surface modifier for a moment and I'm going to press Control and the plus key to expand that selection hit Delete and delete faces. Then I feel like we should do that up here too. Let's select this face right here and delete this one. And maybe write up here too. Let's do that. Let's delete this base on the top. So I could have just created those cylinders without caps on the top and the bottom, but I forgot to do that. That's okay. Alright, let's turn the subdivision surface modifier back on and we see now that we do not have the caps on here, they don't collapse. They stay their original shape. But these up here, we got to deal with these. Let's move this up. And I want to get that nice curve on these. So I'm just going to add them here, I think on the outsides. And then I want a fairly sharp edge up here. So I'm going to bring that down pretty tight and bring that up and then one up here as well. Let's bring this down pretty tight like that. Alright, yeah, so now we've got that curved edge here. So maybe I'll hit G two times and bring that down just a bit. And I'm going to Alt click this G2 times and pull this up like this. So it's a little bit more curved like that. Yeah, that's kinda what I want there. I'll then move the origin to the center of that geometry. And let's duplicate it. Shift D, and I'll move it over here, drop it there, Let's turn it a bit. And maybe I'll grab these down here and pull these up some here. We could do the same down here. Maybe here. Alright, so also, I need to move these back there, one in front of the other. You can see that here. So I just need to move this back behind this one like this. Maybe not that far there we go, something like that. Then let's take these, let's combine these into one object, Control J. And then let's mirror these over to the other side as well. So I'll press Shift D and enter, and then I'll go back to global. Let's press Control M and Y and enter. And then the same thing applies over here. Let's just drag these over. And they should be pretty good right here. One in front of the other and mirror it over to the other side. Yeah. There we go. 40. Between the Cylinders: Well, the next thing I'd like to work on is this 45-degree overhead valve twin cylinder engine. And it's gonna be kind of complicated in that we've got all of these little tiny thin extrusions on this, and I'm assuming that's to prevent the heat. But before we begin on these, what I'd like to do is get this centerpiece that establishes where they're going to be and how they connect up. So I'd like to begin with just this piece here. You can see that here. And that's over here on the other side of a hit the three key and press Shift Z. You can zoom in and we can see that here. We don't have a whole lot of detail here in this view, but I think we've got some good images over here. But before we begin doing that, let's do a little bit of clean up again here in the outliner. And I'll just come over here and right-click and duplicate area into a new window. So we have our outliner here so you can kinda see it. I'll come up here to the scene collection and right-click and choose View, Hide one level to collapse everything down. Then let's figure out what these things are. So this is the air vent. I'll go ahead and give that a name or it's the air vent cover, something like that. I'll just call it air vent. And this we'll call it knucklehead, L for left side. And then I'll Control C that. And then we'll select this one. And I'll Control V to paste that and change that to an r. There we go. Let's see what these are. These are the push rods here and here. I don't know that I really need to label those right now, but my concern is really where should we put these and feel like we need a new collection here just for the engine, just generally the engine. I know these are the actual engine, but just all the other parts that go with it. So let's just press M, create a new collection. We'll call it engine. And just put all of that in there. There we go. I think that'll work. So I'll close this. Now let's spin around over here to the other side, I'll just hit the three key and press Shift Z to go to wireframe. And I guess what we should do is just begin with this cylinder. I'd kinda like an image of the other side of this. And I think I have one. Let me, I'm just going to change the outline or to an image editor temporarily. And let's go into a reference images and into the iPhone pictures. And I think there's one, this 09 right here. We take a look at this. This is the other side, but if we zoom in, we can see the back of this piece. Let me press Control and Spacebar. And if we zoom in, we can kinda see here the back of that piece. So I think I'll leave this view here for now as we're working on this piece. Alright, let's be sure that the cursor is in the center of the grid with shift S1. I'll press Shift and right-click and move that into here. Let's then press Shift a mesh cylinder. And let's take this down to maybe 16 sides. And I'll type in 0.1 and 0.2 here to shrink that down. I'll also take away any cat bills. I'll choose nothing here. And let's scale this down. And we'll turn it in. The x-axis are X9 zero. Then I'll just move this up. It looks like I need to just scale it up a bit, get it in the proper size here, and then scale it out in the Y, S, Y and just pull that out about like this. It kinda centered there. And let's press Shift Z and figure out where we need to put it in the x-axis. It looks like it's just under the gas tank there. So I'm just going to pull it out. Maybe right about here. Let's try it right about there. I'll go ahead and right-click and choose Shade, Smooth and alright, so we have that in place. Next, let's create these pieces over here. I'm thinking it looks to me like these are six or eight sides, I guess maybe six. Let's try that. I'm going to move the cursor into the center of this object now, so Shift S two, and then let's press Shift a mesh cylinder. We'll take this down to six sides. And I'll scale this down. And let's spin it in the X or X non-zero. Let's move it over to the side. I feel like we should maybe scale it down about like this. Move it out. I guess we can press Shift Z to take a look at it and that might help, right? Let's do that. Scale it down a hair here. Yeah, I think that's pretty good there. And then what we can do is close it off. We've got this little rim here. So I think I'll just tab into edit mode and select these edges with Alt click and press S and scale that in. And then I'll press E, y and pull that out a bit like that. Also, let's close off this area out here. Let's press E S and close that off. We go. Now we can take this and mirror it over to the other side so we can change from median point to 3D cursor for our pivot point by pressing the period key. And choose 3D cursor. Then we could duplicate this, shift the Enter. Then we can mirror it over in the y-axis Control M and Y. And there we go and then Enter. And so there is the other side of that. You know, what I should've done actually is closed these ends off a bit before I duplicated that. Well, we can do is just go back. Let me just do that real quick. I'm going to need to move the pivot point back to the median point to be able to scale this in. So I'll press the period key, median ES. Let's bring that in some same thing over here. Alt click this ES and bring that in there. Okay, so we got that. Now, I think the next thing we should do is maybe get this plate behind here. It looks kinda like there's a plate behind here. If we zoom in it, it's very hard to tell, but it kind of looks like it's triangular ish back here and maybe three screws or bolts holding it on here, here and here. So let's work on that. I'll press Shift a mesh plane. Let's take this down to maybe 0.1. I'll turn it in the y-axis, our line 90. There we go. Let's take it back behind here, behind this cylinder here. And then if we go to the side view with the three key Shift Z for wireframe, Let's press S Y, scale n, s z. And I'll bring this in about like this. Now I think we could take these and begin bringing them in. So maybe we take this down to here like this, and then we press easy and bring this up a bit and then scale in a hair. Easy, bring it up, scale it in. Easy, bring it up and scale it in like this. Maybe that would work. Let's try that. Then. I think what we can do is maybe bevel these vertices so we get a bit of a curve on each of the corners up here. So let's try that. I'm going to press Shift a and apply the scale. So we get all ones over here and then go to vertex mode and maybe select all of these. Let's see if we can do them all at the same time. Control Shift B and pull in like this and scroll the mouse wheel. And maybe all we need is something about like this. Actually, now that I'm looking at this again, it looks like this pulls in a bit here. So maybe we could take this edge right here and scale it in just a bit like this. Yeah, something like that. Alright. And then let's give it a bit of thickness. It does look like it comes back up dense. So maybe let's add a solidify modifier, choose even thickness and maybe bring it in just a bit like this. Then we can smooth it. Turn on auto smooth over here, and we go, alright, let's take a look. Yeah, and then let's add these little pieces here. So let's maybe select this face and move the cursor to it. Let's create a UV sphere and maybe take this down to 12.8. So it's pretty small. We'll take the radius down to 0.01. There we go. And then we could go to wireframe and tab into edit mode and maybe just select this part here and delete that delete faces. And then we could turn it into y-axis, our y90. We could scale it in the, to kind of flatten it up a bit. We can maybe smooth it. And then we could scale it down a bit. Kind of put it in here. What do we think? Maybe a little bit bigger, something like that. Alright, and then we can just press shift D, move this down here, shift and move that over here. Feel like there are a few things going on behind here and underneath as well that we need to deal with. So let's do that. Let's deal with this thing down here. It looks like it's just a cylinder. Let's maybe select an edge down here and move the cursor to that shift S2. And then we can press Shift a mash cylinder. Let's take this two. Oh, let's give it 16. Let's do that. And I'll go ahead and add a triangle fan on the top and the bottom for the cat fills. And let's bring this down and try and get it in place. So maybe something about like that. Let's try that. And I think I need to bring it back into here. I think it's behind there. And then we can smooth it. Turn on auto smooth. I feel like it's got curved edges on the top and the bottom. So maybe let's press Shift a and apply the scale. And then we take this edge and this edge and press Control B and AD curve there. Try that. Then I feel like we need something back here behind it as well as below it. So I think what we can do for this is just since we can't really tell exactly what's going on here, we can be pretty vague with this at this point in time. And then as we create other things, we'll see what we need to connect and close off. But for this, let's just press Shift Enter and then I'll press rz90 to turn that. And then let's just pull this back and insert it into this piece. I'll scale it down just a bit. And then kinda inserted into that piece there. Right? So we've got that back here like this. I feel like we've got a cylinder there. Maybe let's do the same thing. We just did. Shift D Enter and then our y90 again. And then let's scale this down quite a bit. Move this up and we'll move it into here. And then it looks like, Gosh, I don't know. It looks like there's a bolt here maybe and then an extension on up. So let's just, um, well, let's, let's bring this up a bit like this. And then I'll just press S and scale that in a bit. And then we can extend that up. Let's just hit E and Z and pull that straight up into here. Yeah, let's try that. And then for this right up here, that bolt, let's select that edge loop and press Shift S to, to move the cursor. Shift a mesh cylinder. Let's take this down to six sides again. We don't need a cap fill. I'll scale it down quite a bit. Let's bring it up and let's put it in here. S, z, something like that. Actually, I didn't need a cat fill on that. And how did I I'll go ahead and close this off here, ES, and we'll just pull that in like that. Alright, and then our Z just to spin it a bit. So now that we've got that, we can use that bolt down here, I think it looks a little like there's an extrusion off of this right here. And I'll press I to insert this into here. And then we can hit E and pull down. And then let's put a bolt right in here, right there. So let's grab what we just created right up here. Press shift D Z and bring that down to here. Now it looks like it's a little off. Oh, well, it's off this way, so I'll just bring it back in the global axis there. Bring it up a bit. Maybe we can close this side off now here, ES, and bring that in. And then we need this thing. So let me grab this and bring it up. And all I'm gonna do here, I think, is just add a polygon plane, shift S2 to move the cursor there. And let's press Shift a mesh plane. Then let's just scale this down quite a bit. Scaled in the y like this. Then we can begin getting this piece. So it looks like it's just an angled piece. Let's try that. I'll hit tab to go to Edit mode. Let's select this edge and then I'll press E Z pulled down. Then I'll do that again. Easy, pulled down like this. And then I'll just pull this back. How far back do we go? We don't really know. So let's just bring it back like that and I'm not sure we'll work on that as we get other pieces in. But I'll press Control a and apply the scale for this so that I can grab these edges and press Control B and Bevel those. I'll smooth them. And then let's add a solidify modifier down here. Solidify even thickness. Let's hold the Shift key and drag down a bit. And then let's turn on auto smooth here. And that helps quite a bit. Alright, so that's basically what I wanted was to get those connecting pieces in the center so that in the next video, we can come in and begin creating the actual engine here. 41. Beginning the Engine Cylinders: Well now having looked at these cylinders, I realize these are a lot. If we were to do these, let me press Control and Spacebar. If we were to do these as they are here, this could be a whole another course in and of itself. This is actually quite a lot going on here. So what I'm gonna do is try and work on a somewhat simplified version of this. Something that will fit in here I think, but isn't as detailed and just won't take as long because we've got a lot of other things to do here to build this. So I'm going to try and find a balance between realism and getting things done here. First of all, let's put these guys in a collection. I'm gonna come up here and right-click and choose duplicate area. Here we go to a new window and then you can just hover over this and hit the Minus key on the number pad to collapse everything. And then let's just go through and select I think just all of these, right? Yeah, all of these and then select this and control-click this and Control click this. Oh, when we need these here as well. Okay, so now that we have all of that, Let's just put these into a container or a collection. I don't think I want to drop them directly into the engine collection. I'd like to give him a collection of their own just so I know what they are. But I don't really know what this is. I think I'm just going to call it between cylinders and go with that. I'll hit the M key, new collection between cylinders. We go and we'll just take that collection and drop it in the engine collection there. Okay, so now that we've got that, let's think about these. What do we think? Are these? Is this a cube? Is this a cylinder? I mean, they're slightly rounded, but they look kinda flat on the front. And then we've got all of these little ridges and we've got an indentation here. So I feel like I want to begin with a cube. I'm not sure that that's going to be what we want, but I think if we create a cube and use the subdivision surface modifier, but we're going to create a lot of polygons if we do it that way. Well, I think any way we do it, we're going to create a whole lot of polygons with all these little tiny ridges on this. So I don't know if it really matters. So let's, Let's just go to the side view here and let's take a look. So here it is. I'll put the cursor in the center of the grid and then shift and right-click and drop it right in here. I'll press Shift Z to go to wireframe. And yeah, I think I'm just gonna begin with a cube. Let's try this. I'm going to take it down to 0.2. I will turn it and change to local transformation orientation. Let's scale it down a bit, something like this, and let's rotate it to kinda get it in line here. Now I'll tab into edit mode and select this face here, and let's scale it in the y and bring that in. This. And I've kind of got these setup. So it's on the inside. So when I create the ridges here, we're going to extrude out. It's got this kind of hang over here, that's this piece here. I don't think I'm going to worry about that. But I guess if we wanted to, we could maybe we could try. Let's give it a try. I'm going to bring it out like this. And then maybe we'll add an edge loop here and bring this down like year, let's say take this base and then extrude it down like this, and then scale in the y to come in a bit like this. Like we, we can try that. Alright, so let's try that. Let's then take this and let's move it up into place. So we're going to need to come forward to connect with these things. And I'll scale in the x because we're going to want to come off of these here, right? We don't want to intersect with any of this. So let's scale it in the X a little more, bring it back some. So maybe something like that. Let's see what we can do with these ridges here. I think we just need to insert a whole lot of edge loops here. So for the top 12345, we've got five up there. If we inserted what? Seven? Let me think here. 123. If we inserted seven here, let me just see what we have here. 1234. Alright, let me try. Eight here and try eight cuts and you can see them over here. Let's try this. 12345. There we go. So we've got that down here. And it looks kinda like 12 maybe I'm going to need to, well, let's just scroll the mouse and click twice. And then we can come in here to the number of cuts field. And let's just click and drag in here till we get them about the same width as what we have on top here. Alright, so let me try these now. Let me just go every other one and see what we have here. I'm just going to click on the edge to get that face loop all the way around. Yeah, so we have it on the top and the bottom. I think that's pretty good. Alright, so now what we can do is we can extrude and then scale and then turn off the z-axis. Let's try that. E, S Shift Z, and we're in local transformation mode. So let's just scale out like this and see what happens. Nothing like this. We could bring these in a bit over here. These and like this, we can just drag and the Y to bring those in just a little bit more. I think that's kinda what we're seeing here. Alright, let's add a subdivision surface modifier and see what happens. See if that's even a possibility. All right, It's actually not too bad. Let me smooth it. Yeah, we might be able to do something with this. So what we can do now is tab into edit mode. And let's add, say, two or three edges here to hold the sides. And then we can use a Boolean modifier to cut into here. Then we can add the base plates, the bolt, this bolt. And then we're going to have to deal with all of this on top. But generally speaking, I don't think that's too bad. You know, what Let's do is let's grab this and let's just hit E and Z and pull that out into here. So it closes that off. I'm kind of surprised that's actually pretty good. So what let's do now is let's see if we can create this indentation here. Let's try that. What I'm going to do is duplicate this shift dx and pull it out like this. And then I'm going to scale it pretty far in the x. So sx, so its way in like this. And this is what we're going to use to cut into that. And I think I want it a little bit more angled, so I'm going to take these away. I'm going to hit X and dissolve edges. So it's a little more angled, right, more of a curve there. And then I'm going to spin it in the z or z non-zero, but I want it to go the other way, so I'll hit the negative key. There we go. And then Enter. Then I want to bring this down and it's going to insert into here. So I wanted to go into something like that. But before we begin doing that, Let's apply the subdivision surface modifier. And this is just a temporary object to cut into here. So I'm going to apply that. And you can see we've got a whole lot of polygons there. Then I'm going to come into this window here, the object properties. And if we scroll way down, just going to move these up a bit here. If we scroll way down to viewport display, we can change our display to wire and we can see that there. So we can kind of see through it as this happens. And then let's select the actual object that we're going to cut into. And let's add a Boolean modifier. Now what we can do is tell what object is going to be cutting into it. So this one here, Let's give it a name, Let's press F2 and I'm going to call it cutter, just so we know what it is. It's just a temporary object here. So I'll select that original piece In the object. I'll type in cutter and select it. And now as we take this and move it in, in the y, it should cut into this. Let's see. Yeah, so let me try and move it down a bit. You can see how it's kind of cutting into here. Let me move this down to say here, let's try this. Yeah, you can see it cutting in now. Alright. So if I come over here, let's find that cutter. I'm gonna come up here and type cutter. There it is. And let's just disable it for a moment. Here. There we go. So now we've got that cut in. Is that the way we want it? Is that yeah, I don t think I want it that much bigger. That's actually not bad. It's pretty clean. I think it does the job there. And it looks like ultimately will put a bolt in here. Alright, so in the next video we're going to take this and we're going to duplicate it and mirror it over to the other side. And then we're going to add the base and the bolts and this piece up here, and this one in here, to try and get it to look a little more like the way we want. So that's coming up next. 42. Finishing the Engine Cylinders: Now let's finish this up so we can duplicate it and mirror it over. So we have the cutter still going into this. What we need to do is make this permanent. So it isn't just a couple of modifiers. So I think first of all, well, let's see how this looks. If we press Shift Z and turn off optimal display. That's a lot of polygons, but it's not as many as it could be if we were to try and do this exactly the way it is. Let's press Shift Z to go back to Solid mode. And I'll go ahead and apply the subdivision surface modifier here. And then let's apply the Boolean here. And then we can hide this cutter away. And there it is. So yeah, I think that's going to work pretty well actually. Let's go to the side view with the three key and I'll switch back to global transformation. And to mirror this over, Let's press Shift D to duplicate it and then Control M and the Y key to mirror in the y-axis and then press Enter. And then let's just drag this over here like this. Yeah, let me grab this edge once again like we did on the other side. And just extrude this in the y-axis EY and pull that out. There we go. So that kinda connects up with that. And then let's work on the base here. For this, it looks like it's cylindrical. So let's do that. I will go back to this side view and press Shift a mesh cylinder and we've got 32 sides. Probably don't need that much. Let's just go with maybe 16. And then I'll type in 0.1 and 0.2 to shrink it down. I don't think I'll need any cat bills here. So let's just bring this up and try and put it in place. See how this works. I'll turn it. I'll press the comma key go-to local transformation scale in the z sum. And let's maybe about like this. Let's try this here. Bring that down like that. And I'll smooth it. And then let's create this plate here. I think I'm just going to create it as a whole other piece, just a cube. Let's shift S2 to move the cursor to that point and then shift a mesh cube, go to wireframe. And let's scale it down. Scale on the z. And let's try and put this one in place as well. Here we go. Let's see how that works. Alright, It's not too bad. I feel like I can scale in a little bit in the x and the y. So S Shift Z and bring that in quite a bit like this. Okay, and then let's apply the transformations here. Control a, apply the scale. And then I think I want to, well, first of all, I think we could just delete this face right here. I don't think we need that at all. I don't think we're ever going to see underneath there. And then grab these edges and let's press Control B and beveled these out a bit. Scroll the mouse wheel. There we go. I feel like this needs to be a little bit taller. Let's try that. I'll bring this down a bit. And maybe scale this out a bit like this. Alright, let's smooth this one, see how it looks. Maybe we can turn on auto smooth down here. Yeah, that looks pretty good. We could also maybe bevel this edge right here all the way around. Let's try that. Control B and bring that out a bit. That's not bad. And then we should join these together. Let's take this and join it with this control J. And now we can basically mirror this over as well. So if we go back to global, we can press shift D, Enter Control M and the y-axis. And then we can just drag this straight over and put it right in here. See how that works. I'll change back to local transformation and just move this up just a bit. There we go, because I think these are hidden behind this lip here. So those are just behind there. Now let's work on adding the bolts around the corners. In fact, I should have just waited to mirror it over until I added the bolts, but that's okay. We can do that. What I'm gonna do is maybe move the cursor to a point right here, let's say shift to S2. And then we'll just create a cylinder. Actually. You know what we could do? Where was that bolt that we created? There was one. Oh, it was up here. Here it is, this one right here. Let's take, or even this. But let's take this right here. Here it is. Let's join these two together. Control J and maybe drag the auto smooth up a bit for this. And then let's duplicate this and use this for the cylinders down here. Let's change back to global real quick press shift D y, and I'll move over here. Let's move this down and over down to here. And it'll hit the period key on the numpad to zoom in. We could maybe straighten this up by just coming over here and in the x-axis and the rotation just type in zero and that'll straighten that up there, just make it a little bit easier to work with. And then it looks like this is taller and it has a washer on the bottom. So let's press S z, this Let's tab into edit mode. And I'm going to take this, hit the L key to just choose the center part and bring this down like this. And then let's also duplicate this shift D Z and bring this down scale in the z like this. And then press Shift Z and scale that out a bit like that. But kinda fits in there like that. Let's bring that back over here. Let's turn it to align it to this. Hit the G key and move it into here. And there we go. We haven't now in there, how does that look? Is that big enough? I think it could be a little bit wider. So let's go to local transformation, S Shift Z, and let's just widen that out a bit. There we go. Then we should just be able to duplicate and put these in place. So let's press shift D, why? We go? And then let's select these two and press Shift x and bring those over here. Okay? Now that we've done that, let's just combine them all into one object so we can mirror them over to the other side. Control J. Let's move the origin to the center of the geometry. Let's then go to global transformations with the comma key. Press shift D, Enter, Control M, Y, and enter. And then let's drag these over. And they don't quite go on there in the same way, but that's okay. Let's switch to our local transformations and just bring those up and kind of put them right there. Let's also put a bolt or something underneath here. So I'll take this and just select one of these alt Z for X-ray. Drag select this whole thing. Shift T z. Then I'll press the P key and separate by selection. Here we go. Now we have a new object here. Let's move the origin into the center of the geometry. And then let's bring it over here. Pull it out some, and let's flip it over. Ry one-eighth, zero hundred and 80 degrees. And then let's drag it up. Put it up in here. Alright, let's also put that over on the other side as well. So I think I'll just go to global transformation, shift D Y, move it over here, and then I'll just hit the R key and turn it a bit like that. And lastly, this thing right here, I'm not sure what it is, but we can put something on there. In fact, you know what we could do. Maybe I'll take one of these shift DX and let's try putting one of these on here. You never know what you can cannibalize off of something you've already created. So I'm going to bring it up right about here. I think it's in the thinner. Now it's a little bit off center, isn't it? Hit G and move it over a bit and maybe scale it up some. Move it out some. Yeah. So just to have something there. And it looks like maybe I could put this one right in here. Like that. Let's try that. See how that works. Alright, so as I said, they're not exactly the same. And we still have more to do on top here. But that at least gets those pieces in there with a fairly representative shape and details. For our cylinders here. 43. Beginning the Engine Case: Alright, well I think we're to the point where now we need to begin thinking about the engine case or the crank case. This piece right in here. If we come around to the other side, I'm going to press control three on the numpad and shifts you to go to wireframe. You can see this case cover here, right there, right? And on the other side of it is this more cylindrical thing. And this is the thing that also connects to the cylinders and the push rods. So that's one of the reasons why I've put it off is because we want it to connect to things that are already there. But also I've put it off just because it looks hard. It is one of the most oddly shaped things on the motorcycle here. And it's just gonna be a little more complicated than the other parts. I think. Frankly, I've put it off a little, but I think I'm ready. I think I'm ready to deal with this. Are you? I think we're ready. Let's first of all take a look at some reference images of just this piece so we can get a better sense of what it looks like. So let me come over here to image and open and let's go to reference images. And in our internet images, I've added a few here. Here's some images of the 1930s six or a replica of a 130s six Harley engine case. And I've also got a case cover here too. But first of all, let's take a look at, say this one here. Let's press Control and Spacebar and zoom in. So I think on this side, we can probably begin with a cylinder here and extrude into here and extrude back toward the cylinder openings here. And then, let's take a look at another one here. Let me go back to that same folder and you can see here how it goes back toward the cylinder openings and toward the openings where what I'm calling the push rod. So I'm not exactly sure that that's what they are. Where those go in as well. And you can see it's kind of cylindrical going back to the other side. And then if we take another look, let me switch this to an image editor again, the outliner up here. And let's take another look at yet another image in here. And then we get to the other side. Here it is. And you can see there's that cylinder coming through. But then you've got this piece here and this piece I'm not going to really create as part of that similar, it's going to be its own piece and we're just going to put them together. And then there's the issue of the actual cover here, which brings with it a whole new collection of issues and problems. So are you ready for this? I think what Let's do is let's begin on this side over here, I'm going to press the three key on the numpad and let's begin writing here. Now, one side is a little bit off from the other. If we hit Control three, this may be a little bit different, but I think we can work with this. So first of all, let's just create a circle. I'm going to press Shift a mesh circle here. Let's take it down 2.1 m here it is. I'm going to leave it at 32 sides. And I'm going to turn it in the y-axis, RY 90. There it is. And then let's hit G and move this up here. And actually we're pretty close to what we want here. I'm trying to get this part right around here on the outside of that. Let's see if we can get it something about like this. Alright, and then we should move it out some. Let's press Shift Z to go back to Solid View. And I'm thinking maybe about like this. Let's say we may have to move our cylinders and centerpieces here, but let's begin right here. So for this, I'll tab into edit mode. And let's get this part going back a bit. So it just goes back a little bit. I'll press EX and pull back like that. And yeah, it looks like we may need to move the cylinders and that centerpiece this way some. But then let's also extrude in to get this. Alright, so let's select this edge here. It S scale in a bit, and I think we can see that over here. I'll hit the three key. Here we go. Yeah, We can see that right here. So let's just hit the S key until we get to this point right there on the reference image. And then let's just extrude out a bit. It has a bit of a lip there. So let's hit eax and just pull that out to here for now. Alright, so now that we have that. I think I'm going to take this and extrude this back some more. We do know that we're going to need to move these up some because that's a fairly small area between where we put the circle and where these are going to connect onto them. But we've got more to do going back. I think what we can do is go ahead and extrude this on back to where these rods are gonna go in. So I'll hit E x and let's pull this way. And we're going to need these to go in right about here, Let's say. Alright, so the next order of business is gonna be to move these forward to get them in place ear where the openings are. So to do that, we're going to need to create a collection for this. So let's come up here and right-click on the top header here and choose duplicate area into new window. So here we've got this. And then I'm gonna change this to an outliner again. Looks like I need to stretch this out a bit. Here we go, it's over here. Or we can press Shift F9. Let's do that. Let's try that Shift F9. There we go. And now I'll hit the Minus key on the numpad. And let's take all of these pieces and give them their own collection. Because currently I think we just have them out here in the engine. I've got these here. I can always right-click and choose, Select Objects, and that'll select everything in that collection. And I'd like to be able to do that with these as well. So let's select all of these here. I'll just go through and try and get these selected. Then let's create a new collection. I'll press M, new collection. Let's call this engine cylinders. We go, we can take this and drag it into the engine. There it is. And now let's add these other ones to that as well. So let's select all of these and press M and move these into the engine, into engines cylinders right there. Alright, now that we have those created, let's just right-click on this collection and choose, Select objects. And now let's move these forward a bit to the point that we think we want them. Looking at this right here, I guess. So let's move these forward to about right here. Let's do that. And then let's take this stuff, the between the cylinders, select those objects by right-clicking there in the outliner. And let's move these forward to go along with these. So that's another reason that it's good to create collections and organize things is because you can select objects in mass and move them around like that. So now that we've got that, what we could try is we could add an edge loop in here, maybe something right along in here. Let's say, let me move it out just a bit like this. And then we could take these bases in here. And we could use these to pull them up and connect those cylinders together here. So let's see, maybe we just need these here. Let's press the three key on the numpad and then what we can try, let me close this is just hit E and Z and I'm going to push up to here like this. Let's hit the Z key again. There we go. Like this. Then what we can do is go to vertex mode. And we can begin drag, selecting these points to get them in place so they match the reference image a little bit better. So let's say we take this edge and we just move it down a bit. And this one, you can see I'm just taking them down or up. So they align to this area here. Now I can take this one and hit G and move it over here, I guess. Could try that. And then let's take these over here and move these into place. Alright, that's pretty good, but we now need to select these bases up here. And let's just select this edge here, change to local transformation. And let's bring this up so it sits appear the same thing here, like this. And then let's get these others in place a little bit better. So kinda want, let me change back to global here that kinda want this to come down and meet with these. Now, there's, this probably needs to come up like this. Rs is gonna be a little bit off and that's okay. Alright, let's take a look at it now. There we go. Yeah, and so now you can see we've got this area that's connecting up with those base plates. We could maybe take this and move this in just a bit. We go. Alright, yeah, so I think that's going to work out pretty well. We've got more to do. Of course we need to do the same thing, this kind of thing for these rods here. If we take a look at that, we can see that right in here. We need to do that. And we also need to begin creating the basic shape of the cover as well. So we will work on that coming up next. 44. Beginning the Case Cover: Well, before we work on the cover, Let's just do one more thing with this. I want to get this piece right here where the rods are going to fit in right over here. So let's see about this. What I'd like to do is maybe let's add an edge loop right along here to define this right along there. And then it looks like it extends off of this main one here. So we should probably insert an edge loop right here. And when we do, Let's hit the E key and then the F key to flip it. So it's in line with that top straight edge. And I'm going to bring it down pretty low. It looks like it's pretty far down here like this, maybe something like that. And then I think we can delete these faces here because we're going to just extend this out, kinda like the roof of a house here and then connect these up to this edge. So let's select these faces here. And actually I don't want to go all the way to the end. I just want to go to here, let's say, and these faces along here. Let's do that. And then let's hit Delete and delete faces. Now if we go to Edge mode, I'll select this one and then Control click this one to select that entire row of edges there. Now let's just extrude this forward, EX, bring it forward like this, right? So we're bringing this forward here. And then let's line it up over this edge right here. Maybe I'll go to the one key and Shift Z, kinda see if it's right lined up with that edge. Right. There we go. And now we can just fill these. So go to Edge mode, select this and this, and hit the F key. And then I can just select this edge and continued to hit the F key and fill those on over. And then this one over here, we should probably fill this. And I'll select three edges over here. Oops, Try that again. There we go, and hit the F key there. So now we've got this piece here or that part there. Now let's work on that engine case. So I think maybe I'll just bring that over here. I'll click Open and this right here, this case cover right here. So let's switch back to the outliner here because I think I just want to hide everything. What is this? Oh, let's call this engine case. And I'll just drag this into the engine collection here. And let's hide everything and just work on this case cover. I'll just click and drag everything here. So I think this side, let me take a look here. This side is that case. So this is control three. Yes, so we want to bring the case cover image into the left orthographic view. So let's do that. Shift a image reference. Let's find that image in our reference images, internet images. And here we are right here. Alright, So there's that. I think I will come down here. And in the object data properties here, we'll turn on the opacity setting and take this down to 0.25, so it isn't quite so bright. I'll also grab it and pull it back in the x-axis a bit. And let's give it a name over here. I'll call this cover image. And let's also turn off the selected here so I don't accidentally click on it and move it around. I think the way I want to build this is with quads. And we could create an outline of this whole thing and then just fill that outline with polygons. But then we wouldn't be able to pull it out to get this curved shape on the front than it has. I want that curved shape. So to do that, we're really going to need four-sided polygons. And to make sure we have four-sided polygons, we should probably just build this polygon by polygon. That's not always the most fun, but I think it is the most practical way to do this. So I'm going to press Shift a mesh plane, and then I'm going to turn this in the y-axis, RY non-zero. Now, I want to see if this is the front of this polygon, which is the front end, which is the back. And to do that, we can come up here to the overlays and turn on face orientation. And the red is the back and the blue is the front. So I really want the blue to be over here. So let's spin it in the y-axis. I'll press RY 180 to spin that 180 degrees. So now the blue or the front is facing toward us. Alright, so let's come up here and turn that off again. There we go. And now let's press Shift Z to go to wire-frame. Then I'll tab into edit mode. And let's just begin getting these in place. So I'm going to scale down and I'm gonna move this over and just begin by putting these points, say in here, I'm gonna begin with this piece right in here, this part. So maybe right here, right? And what we're gonna do is begin from this and just extrude out. So we cover all of this with four-sided polygons. So now I can take these two points and hit E and pull them up a bit here, like this. And g, and I'm just leaving room or leaving edges here that I can extrude out to get this piece here if I wanted. Let's now select this point. So we have these two selected and I'll hit E and pull this up to here. Let's say I'll hit G and bring that out like that. Now let's select these two and I'll hit E and pull these up. This we've got points here to be able to extrude this out if we want. And then maybe I'll take these and let's extrude these E, pull this out like this. E here. Maybe I'll bring this down like this and select these two extrude. Bring these down to here. I'm just moving on down the piece here, trying to figure out where I can put polygons to build this area E, I'll move this down d year, let's say. And then I could probably just take this and move this straight down to here. Maybe I could also take this and move this up to here like this. Let's try that. Now I've got this whole line of vertices to begin extruding a cross like this, I might want to add an edge loop right here. Let's do that. So if we press Shift Z, you can see what we're beginning to get here. Alright, so Control three again, Shift Z. I'll select all of these, and this time I'm just going to hit E and pull over to here. Maybe scale these in the Y S, Y to kinda flatten them up just a little bit. Maybe bring this down here, maybe bring this back. So I'm just beginning to try and figure out where we can put these points to get them to extend across this piece. I think I'm going to go along the sides here for a minute. I'll hit E and here. And E begin getting these, this area here. So this just kinda tells me how many extrusions we're going to need as we come out here. So I've got 1234. We should do a similar thing here. One to let say three. And maybe one more here, maybe down to here. Alright, so now we should take these and let's pull these out a bit. And I'll pull these and maybe scale them in E. And then let's hit E and maybe scale in a little bit more like this. Now we should be able to just take these as we've done before, hit the F key and then fill these again with the F key. I'm a little off RNA. Okay, So I need to move these back a bit. Let's do that. And then let's do these here. Hit the F key and then select this and hit F and move these forward. Yeah, so I was a little off here now, wasn't I? I'm going to move these back. Then let's hit E Once more. Pull this forward. Now we can select these at the F key and these, and hit the F key. Let's go to Solid View and make sure we have everything. Yep, that's all build there so far. And then I'll move these points around to kind of even them out. And then maybe we can keep going from here. Let's try that. I'll hit E and bring these forward. And then let's hit the S key and scale them in like this. Do that again to hear the E key to here and I'll scale out. We go E and then let's scale in just a bit. And let's continue. Maybe down to here. I'll scale on the y to kinda flatten that up. Hit the S key to scale out like that. Do that again. Gale in again. And then one last time here. And let's just begin pulling points to get these in place. So I'll just bring these back like this. There we go. Alright, let's take a look at it. So there we've got that basic shape of the cover there. As I said, we could come back in here now and select this and hit E and pull this out. Then we could take these points and move them where we want them to be. And maybe take these points and extrude this out. This. And let's move this down. Now. You can of course, add new edge loops if you wanted to stay in here or in here. If you need some extra points, if you feel like you need them. But I think for now, let's go ahead and try this. In the next video, what Let's do is try and pull this out a bit to get that curve on the frontier. 45. Finishing the Engine Case Cover: Continuing with the cover case, let's see if we can get a bit of a curve to this. Now, a good way to get curves is this proportional editing tool here. If we turn this on, we can select a point and if we hit G and X, we can pull this out. Scroll the mouse wheel out, and you can see we can get some curves here. But to get that curved form for the whole thing, we begin to actually pull and curve the edges of the piece itself. And the piece is flat on the back, but curved on the front. So we need to figure out a way to not affect the points all the way around the edges. And a good way to do that is actually just to hide them. So whatever is hidden isn't affected by the proportional editing tools. So we can select all of these points all the way around, hit the H key and hide them. And then if we select that point again, we can use our proportional editing tool, pulling these out without affecting the vertices along the outline. So now we can hit G x. Let me scroll in a bit and we can begin pulling these out sum. And now we can just kinda go through and begin pulling some of this out like this. Maybe pull a bit out like this. We can just kind of work on getting a nice curved shape here that we want. We can tab back into object mode and see it here now. So you can see we've got that edge staying in place and then the rest of it kind of curving out. Let's smooth it. I'll right-click and choose Shade Smooth. And yeah, so I think we're getting there. Let's hit the tab key again and let's pull out a little bit more. So maybe, well, I think what I'll do is reduce the influence. I'll press G and X and reduce the influence of bit and begin pulling out. Again like this. Alright, I think that's pretty good. Let's tab back into object mode and take a look. Yeah, I think, I think that'll work pretty well. Let's now unhide this. I'll press Alt H here and edit mode to unhide those vertices. And then we can probably take that entire edge all the way around and extrude back a bit to get the sides of it. So let's try that. I'm going to go to Edge mode now and Alt click all the way around here. Alt click, Alt, Shift, click, and get all of these here all the way around. And then let's just extrude back. I'll hit E x and push back like this. So I'm not sure exactly what we're going to need here or how far it needs to go. But let me turn on auto smooth here. Yeah, and then what we should do I think, is also create this piece right here or this kind of indentation. Let's try that. So first off, let's turn off the proportional editing tool. We can do that by just hitting the 0 key to toggle that off. And then what Let's do is let's select everything that isn't in here, right? So maybe we could select these. Let me just select these around here like this. And then if we go back to Solid mode, I'll press the C key for circle select. And then I'm just going to click and drag and select all of these faces on the front. Because I'm going to pull these forward. I'm going to extrude these forward to get this little indentation. Let's hit E and X and pull these straight out in the x-axis like this. There we go. Alright, so now we've got this piece here. We could probably clean that up a bit. Let's try that. Maybe if we selected all of these edges all the way around and gave them a bevel that might help. And then also a bevel in here. Let's try that. Let me tap into object mode and select it. Let's press Control a and apply the scale. And then, now let's go back here and press Alt and Shift click all the way around here to get all of these edges like that. And then let's try and bevel these. Let's press Control B and pull that out. Roll the mouse wheel a bit. Let's see if that'll work there. Yeah, that's pretty good. Now let's try and get this inside here. So Alt click and then Alt Shift click around here, like this. And let's do the same thing here. Control V. And let's pull this out like this, see how that works. There we go. We could probably beveled edges up here, but I'm going to wait to do that until we're done working on the back part here. But what I will do while we're here is taken edge right here. Bevel this control B, and I'll just pull out a bit. But I'll scroll the mouse wheel so we don't have any edges in there. And I'll do it right about this, this big, and then hit the three key to go to face mode. And then I'm just going to scale in, in the z and the y. So I need to turn the x-axis off. So press the E key, Shift X to turn that x-axis off. And then let's push in a bit to get kind of a ridge there. Yeah, something like that. Alright. Let's maybe put it on the motorcycle now and see how it looks. Let me change the name to case cover. I'll do that. Will turn off the image here for now. Let's bring everything back here. And then let's try and put this in place. I'll go to wireframe and scale this down quite a bit. Let's hit the G key and move this in here like this. There we go. Let's take a look at that. Let's bring it out and put it in place here. Now as I said, we're going to have to connect or at least close some of this off. But I wanted to see how it's going to look there. Yeah, I think that'll work. We'll put some screws or bolts around here. I can't remember which they are. Oh, it looks like they're flat head screws, which we can do. Maybe we should do that. Maybe we should go ahead and create a flat head screw so we can then put them in here. Let's do that. Let's hide everything again. And then I'll press Shift a UV sphere right here. And let's take this down to 0. Let's do 16.12, maybe, like that. And let's take away the bottom part here. Click and drag down here and delete this. And then I'll scale in the z, something like that. We could maybe just take this edge here and scale it in just a bit like this. Alright, let's smooth it. And now let's create that flat head slot. What Let's do is just use our Boolean modifier for this. We can create a new cube. Bring this up, and let's scale it in the x, like this. And let's see, maybe we need it to be a little bit narrower, something like this. And how deep do we want it about like that maybe. Alright, let's take this cube and let's change it to wire display here. We can kinda see it. Let's select the screw. Let's add a Boolean modifier to it. And we'll use the little eyedropper here. We'll click that and then hover over the cube and select that. Here we go. So now let's see if we can move this up or down to affect how it's going to cut in there. We could also turn on auto smooth over here, which would help quite a bit. There we go. Now we can move this up and down to get the slot that we want. So I'm thinking maybe like this. Yeah, that looks pretty good. So now let's select that and let's apply the Boolean. Here. I can take this and delete it. And now we've got this that we can add to that case covers. So let's go back to the side view. Let's bring everything back here that we need. We don't need the image. Let's do this. I'm going to call this flat head screw. Let's figure out where it needs to go. It needs to go on the other side now. So let's press R y non-zero, it's facing the wrong way. So let's press the negative key. There we go and hit Enter. Let's scale it down. And let's see if we can get this in place. Control three, Here we go. Now I'll press Shift Z and let's scale this down and find one of these that we can put in place here. So maybe this one right here. Let's see, Let's bring this over here. Maybe like this. Scale it down a little bit more, maybe something like that. And let's push it in to where we need it to be. Here it is. Let's bring this in here. Hit the period key on the numpad and pull it out a bit. It's kind of in line with that. Feel like it needs to be more. There's one down here. I can see that right here. Scale that down a bit. There we go. Shift Z. Yeah, There's one down here like this. So these are a little bit off, but I think that'll be okay. So I could take this one and Shift D, move it, say to here, put one up in here like this. I'm looking over here. And then let's do one right here, Shift D. But I think we're gonna have to pull this out a bit. Let's see. Yeah, we're gonna have to pull this out a bit like this. There we go. And then we need one right in here to over here. One over here, here. And here. It looks like we could use one. Right here. I'm looking at this right here. It looks like one right here. A couple over here. One out here. Let's try that. Yeah. So they need to be brought in a little bit there, a little bit too far out. Then what I wanna do is just spin them. I'm going to press RX and kinda turn them in a random way here. But we are going to have to take these and move them in a bit. They may need to be moved in individually and even tilt it a bit to get them to fit on the outside there. But generally speaking, I think this is gonna be okay. I think we'll be able to make this work. Yeah, So I've gone through and just pulled them in a bit, turn them in random ways. So I think that actually might just work, but we still have more to do for this case. In the next video, we need to go ahead and clean this up a bit and maybe add some extrusions like here on the side. And then I think we'll have that area pretty well done where we can begin adding other things around it. 46. Modeling the Rod Bases: Continuing to work on the engine case here, I think I'd like to try and create the basis for the push rods here, these little pieces right here, this right here. Now, I don't think I'm going to create this piece right here because frankly it's going to hide the other piece behind it. I'm gonna see if I can get away without this particular part and just kind of go with cylinders. Let's see if that'll work. So I'm going to press control three on the numpad to go to the left orthographic view. And let's press Shift Z to go to wireframe. And here they are right here. So what Let's do is press Shift S1 to take the cursor to the center of the grid and shift and right-click and let's drop that cursor right in here. And from here, I'll just create a cylinder. Let's take it down to maybe 16 sides. And I'll type in 0.1 and 0.2 here. And I don't think I need any cat bills at this point in time, so I'll just choose nothing. And now let's scale this down. And while I'm still in object mode, I'm going to hit the R key and turn it a bit. Kind of scale it out, see if I can get it in place. And I'll also hit the Comma key and go to local transformation. And let's scale out in the z and maybe get it right about like yes. So I'm going to try and both line it up for what we're seeing in the reference image, but also how it's aligned here. And also my 3D model is a little bit higher here than the reference image, so we're going to have to make some adjustments. But what I'll do is I'll tab into edit mode and grab this edge here. And then I'll just hit E S and scale out a bit. And then let's get this part here, e, z. Pull this up. There we go. And let's press Shift Z to go back to Solid View. And I'll pull it out in the x-axis. And let's kinda get this centered up here. Alright, that feels like it's a little too big generally for what I have here. So maybe I'll just scale that in a bit and then scaled in the z, kinda like this. And then if we go back to this side view, let's take a look at where it's going to end up. I feel like this is going to need to come up some like this. These probably can maybe come up some like this. And then if we take this edge loop on the bottom here, Let's see if we can make something like this. What I'd like is to have the cylinder kind of organically growing out of the base plate, kinda like we have here. And then I think I'll just place the cylinder behind it in there without having to grow organically out of that. I just want to have that sense kind of in the frontier that that's happening. And that's a lot of what I'm doing here is kinda trying to get a sense of things, trying to impart enough information so that the viewer kinda gets a sense that there's more detail going on here than there actually is. So I'm going to maybe tilt this. And now let's take this and I'm going to hit E and S and scale straight out. And then what I'll do is maybe take this point and this point, and let's scale in the x Sx zero and flatten that up. Then let's do that over here. I'll select this point and then I'll Control click this point here. I think that's right. Let's press Sx is zero and flatten that up. And then let's take these and press S Y zero. And these SY is zero. So we just make a square out of this, but it's still coming directly out of this because once we add a subdivision surface modifier, that transition will smooth out a bit. Alright, I think I want to take this now and turn it so it's even with what it's going to connect with. So I'm just going to take this and turn it a bit like that. Actually, I should probably grab these as well. Let's do that. Now I can hit the R key and turn this kinda like this. And then once we've done that, we should probably take these edges here. Let's do that and just extrude these down. Let's just extrude these. I'll hit E and kinda just free hand, bring them down so they're in line with that right there. Yeah. Let's try that. All right. So we've got that. We may need to move this back a bit. These faces here, we could move these back to make room for that other cylinder. Alright, so now let's take this and let's close this off up here. So this edge, I'm just going to close that off. And then we can smooth it. Add a subdivision surface modifier. If we turn on the cage here and tab into edit mode, we can see we're going to have some work to do here, but we can move this up. And we can kinda add edges up in here. We get this here. We could add an edge down here, at an edge in here, and maybe one in here as well. Let's try that. Yeah, So we're just getting that kind of a smooth transition. We should probably go ahead and add that other cylinder into here. Let's do that. I will select this edge right here and press shift us to, to move the cursor there. And then let's and a new cylinder right in here, shift day mesh cylinder. Let's bring it way down like this. Turn it. And let's see if we can get it in here. It looks like I may want to bring this up into writing here. Really, kinda hard to tell with everything else going on in here. We could maybe take these and hide them for a moment. Just hit the H key. Then we can see this a little bit better now. So I think I want to move this write-up out into here. Let's take a look at pretty well centered. Yeah, I think we are. Then we can select this edge, hit E, S and scale in. We'll do the same with this. We'll just hit E, S and scale in just a bit like that. And then let's hit Easy and pull this straight down like that. So it just inserts into there. But I don't think we need to worry too much about having it come out of that organically in the same way. So now we could join this with this object. Let's just Shift-click this and press Control J. And then let's smooth it again. And now let's add a few edge loops in here and in here. Alright, so now we've got those there. Let's go back to the side view here, Control three. And let's move the origin to the center of the geometry. Here. I'll change back to global. And let's mirror this over. I'll press shift D, Enter Control M and y. And then I'm just going to drag this over like this. And let's see how close we are for this to work. Well, we're a bit off, aren't we? Let's go back to local. And we could bring this down a bit. Let's do that. Just going to take this and bring it straight down like this. And then take these and move them down. So we hit G and move this down into here, and select this and hit G and move this down into here. Let's bring everything back. I'll unhide everything with Alt H. But then we've still got this piece here. We don't need this here anymore, do we? We could delete that cutter object. Let's do that. And lastly, let's work on cleaning this up. I feel like we've got so many objects here. They're just sitting outside in the main scene collection that we need to kind of organize this a little bit better. So we've got this case cover here. What are these? These are those base plates that we just created, but here's the screws. So let's take all of the flat head screws and the case cover. And let's just create a new collection here and call it case cover. And then we can take that and drop it into the engine here. And these two we should probably put with the knuckleheads and the rods here. So where are these? Let me select this and I'm going to hover over the outliner and press the period key. And here they are in the engine. So we could take these the rods and these two cylinders here. And we can create a whole new collection for these. Let's press the M key new collection and we'll call it knuckleheads. That's what those are. There we go. And that can now go in the engine collection as well. There we go. So that kinda cleans that up a little bit in the outliner. Alright, in the next video, we'll try and finish up the engine case. 47. Finishing the Engine Case: Alright, let's go back to the engine case here. And I think there's just a couple of extrusions here that I'd like to add like this one right on the side here. You can see that here. So if we're looking at it from this side, which would be here, it would be on this side. And then if we're looking at it from this side, over here, over here on the right. Okay, so let's take this, Let's tab into edit mode. And I just want to select a few faces. They something like this. It looks like it comes all the way to the edge here. So maybe we take these. And then back here, right here. Maybe it doesn't go quite as far to the edge like that. So we don't have these selected. Let's try this. I'll hit E and just pull these out some and then maybe move them out and up a bit. Then I can take some of these edges and just begin moving them around. I'll go back to global transformations. And let's just move this like this. And I could probably take this edge right here. And let's move these in a bit. Take this edge right here or these bases, I should say. And do we want to extrude that out for this piece here? Let's do that. Let's just hit E and pull that out just a bit like this. Then we could take those edges. We could say take these edges here, give them a little bevel. I'll tap back into object mode, press Control a and apply the scale. And then let's press Control B here and edit mode and kind of pull that out a bit. And then we should probably begin closing some of this off. I don't really know how far we want to take this. Quite yet. We probably want to bring this back a bit, but we really don't know yet, so maybe I'll wait on that. But in here, we could go ahead and close this off. Maybe hit E and S and let's scale that down. So it kinda closes that there. And then over here, we could do a similar thing. We probably need to select this and hit E and S and scale that in some. Let's try that just so it closes that area off as well. Then let's smooth it. Let's turn on auto smooth down here. And then maybe we could add a few bevels to this. So the edges aren't quite so sharp, like this area over here, That's a pretty rounded edge. So let's tab into edit mode and grab that edge and press Control B. And pull this out. However, I think I wanted to go along here, so let's undo that. Let's continue this alt click, Alt Shift click. Let's continue that on around here. Do we want to continue it on through here? Yeah, why not? Let's do that. Okay, so now let's press Control B and pull that out. Let's see how that works. Yeah, it's pretty good. This one here, Let's do the same. Let's bevel this out a bit like that. And then over here, we should probably go ahead and give this some curves to maybe we could select this edge here and bevel it. And we want to also do anything up Here. Let's see how this works. I don't know if this is going to work well, since it's going into that cylinder there, this may not quite work, but let's give it a try. Control, be pulled that out. It's not too bad. I'd like to maybe continue it on through here. Let's try this. So it's all the way around that. Let's just try Control. Be pulled that out. See what happens. Yeah, that's not too bad. Then I think I'd also like to go ahead and close this area off. This one here. We should probably drag the auto smooth up a bit to clean up these edges right here without losing the edges in here. I think we can do that. But back here, I think I will go ahead and close this off. So let's tap into object mode and hit the division key. Actually, I'll select this one as well and hit the division key. So we have just these two here. And then if I select this and press Alt Z, we can see that outline. Let's hit E, S and scale in. And maybe scale in the z. Z. Maybe move this a bit, so I'm just trying to get it so we can close this off. Then let's extrude one more time. I'll hit S and scale in. And then to do this quickly, I think what I'll do is just fill this with a face and then triangulated. So what we can do is we can hit the F key and that fills it with one huge in gun. And I don't want an end gun that size here. I think I want to convert that two triangles so we can come up here to face and triangulate faces or Control T and click that, and that'll turn everything into triangles. So then, now we have that closed off. Let's hit the division key one more time. And here we go. Now, I think I would like to take this edge here and give it a bevel. So let's press Control a in object mode and apply the scale. And then we can press Control B and bring that out a bit to curve that. Now, I don't know if we're actually going to see the back of this as we get more pieces in it very well could be that we could come back and remove all of those faces if they're not gonna be seen, if we're not going to be seeing any of that. But I just wanted to close that off for now. And then maybe we could select an edge in here. Let's try this and just select that with Alt click. And let's try and pebble this, see if that does anything terrible now that's not too bad. And then one last thing I'd like to do, if we go back over to that image with the push rod bases. Let's see if this is one that we can see. Yeah, we've got little flat head screws on the base of these. So let's take one of these, let's say. And let's move that up into here. I'm going to grab this and press shift D Z and bring it up. Let's turn it in the y-axis, RY non-zero. We go, let's bring it back and let's try and put it in one of the corners here. The R key here, and scale it down quite a bit. Move it over and get it in place here. I'll switch to local transformations with the comma key. And let's see how this works. I'll click on the little blue square root of kinda slide it in the x and the y there. Maybe I'll turn it in the z with our z like that. And then we can press shift D Y and bring that up here. Yeah, there we go. And then let's try this. Let's try bringing these over shift dx, like that. Let's see how that works. Yeah, that's not too bad. We could maybe move this over a bit. Turn it into why bring it up a hair so just to get it so it sits on the top of those. And then maybe we could just take all of these and move them over to the other side. I'll press shift D, move them over here, Let's turn them and kinda put them in place. I may still have to go through individually and put them where I want them. So if you have to, you can just select one and hit the period key and zoom in and then just kind of turn it the way you need it. Move it in just to get something there for each of these plates. So I think we've got that engine case pretty well in place. In the next video, we'll begin adding some more pieces in here on the side and just begin filling in a little more in the midsection of the bike. 48. Beginning the Transmission: Alright, the next thing I'd like to work on is the transmission right back here. You can see it right here with that foot pedal coming out of it. And I've got a couple of images over here in the reference images. We've got this one. That's a pretty good image of it. And then I found on the Internet an image of just the 1930s six transmission just out on a countertop here on a workbench. And I think this will help just get a sense of where it's going Back and how far it should go back to that chain cover that we created over on the other side here. So this right here is the back of this. So I think this helps us just, or at least it helps me get a sense of where the objects are supposed to be and how they're connected because I'm certainly not an expert on motorcycle engines or anything like that. I just really love discovering how something is built and put together through the act of actually reconstructing it, recreating it here in 3D. You learn a lot about how things are created by trying to create them yourself. So the first thing I'd like to try to get is this rim. I think I want to create a circle, get this rim here, and then extrude it out to get this part here. And once that's done, I'll then extrude back toward the chain into the center. So let's go to the side view, the left orthographic view with control numpad three. And then I'll press Shift C to go to wireframe. And you can see that piece here. So I've got the cursor in the center of the grid. I'm just going to press Shift and right-click and drag it over here, somewhere around in here. And then I'll begin with a circle. I'm going to press Shift a mesh circle and Let's try 24 sides. And then I'll bring this down to 0.1 just to shrink it down a bit. And then let's turn it into y-axis RY 90, and here it is. And then I'll just scale in the z of it. Kinda get it in place, get it about the right size. So I think I want it to be something like this. I'm trying to match it to the outside rim. And if we tab into edit mode, we can see the points here. Maybe I'll take these and maybe scale them out in the z. Just try that. Kind of bring that out because I feel like it's a little bit it isn't perfectly oval. I just think there's some work that we could do to kinda bring these down a bit maybe. So it's a little flatter on top. And it's really hard to know exactly what it's going to be like underneath here. We can't really see it here and we can't really see it here. It's hidden by the exhaust pipe here, so we kinda have to wing it, I think on the underneath part. Now, this is this area here. It looks like it could come in and maybe let's try this. I'll just begin selecting points and hitting the G key. And to see if we can get these in place. Alright, Let's tab into edit mode, press Shift Z, and let's take a look at it. So I'll bring this out. We don't really have a sense of where this is going to go. But it looks kind of like, well, it's hard to tell exactly where it should be. Currently, we're probably going to need other reference images for that. But we can see that the exhaust is outside the frame here. And this is kind of up against the exhaust. So we could probably say it's right around in here. Let's try that for now. Then what I'm gonna do is tab into edit mode and just hit the a key here. And I want to extrude to get this little rim here. I think I'll just hit EX and pull out a bit. And then I'm going to scale in, hit S and scale and a bit like this. I'm getting this right here. Then also we could scale in back here, E, S, and scale in a bit back here. And then I could select this front row. And let's start getting that basic shapes. So I'll hit EX and pull out a bit. And then I'll hit E, S and scale in and then pull these out. Let me go over to my move manipulator here. And I'm actually going to pull out a bit like this and maybe we could scale this one in just a little like that. There we go. So I'm just trying to get this kind of curved shape here. And I'll press S and bring that in and then bring it out, some ES and bring it out. Then this area here, it looks like it's pretty flat. So I think I could just hit E S and then merge these altogether. I'll press the M key and merge at the center there. Something that looks like that. I'll smooth it. And then I feel like it's a little bit wider here, it's a little bit, it should go out a little bit more. So let's scale that. Let's select this and press Shift S to, to move the cursor to that edge. And then let's change to the 3D cursor here. And now we can select these points. I'll just press Control and the plus key on the numpad and go back to here. And now let's scale in the x. I'll press Sx and just push that out a bit like this because I feel like it just comes out a little bit more there. And then we could maybe even scale from here, do the same thing again. And maybe actually flatten this. We could try that. But let's just see how that works. Yeah, It comes out just a little bit more. That's, I think what I wanted there. We could also take these edges back here. We could just select an edge here, press Control and plus, and then just push this back. So if I change back to the median point, I could then just drag this back like that. So I'm just trying to get that general shape here or at least the width of it. Then we could take this edge right back here, the one that we created. Well, right here, that one, we could extrude this back all the way to where that chain guard is. We could hit EX and pull back and just pull into right about here, Let's say just for now, we're just trying to get a sense of it. It is smooth. So I'm gonna come over here to the object data properties and choose auto smooth. We could probably drag this up a bit and smooth that out. From here. I want to get these cylinders and they are really growing out of this, but I don't think I'm going to work that hard for this. I'm going to use actual cylinders and place them there and then put the bolts on the front. So if we go to the front here, I'm going to maybe create a cylinder here like this. Take this down to maybe 12 sides, reduce the radius to 0.1 and 0.2. Let's change to triangle fan and then let's scale down, maybe scaling the Z and I'm going to turn it into y, ry90. Then let's hit G and move these up here into here like this. So something like this. Let's see how that Look. I'll take this back and I think I'll bring it back pretty far. So it's kind of hidden in there. Kind of hidden in there maybe. And then, well, we could pull them out like this, I guess. Let's smooth it. And we can turn on auto smooth here. Drag that up a bit so we get that. So yeah, I think I just want to do this and then put a few bolts on the front. Just because we can spend a whole lot of time dealing with this. But I think this will work pretty well. Let's press shift D and here. And I'll press Shift D and put one here. There's probably one down here, I would say even though we can't really see it, it looks like there may be one or two over here. Let's take this one and move this over here. It's very hard to tell with everything going on in there, but I'm gonna go ahead and put them here for now. And let's go back and see how we're doing. So yeah, I think that's pretty good. It looks like we've got a couple of bolts here because of this piece. We could, as I said, if we wanted, we could take these and move them back just a bit so they kind of hide behind that rim. We could try that and then put the bolts over those. And then let's see if we can get this kind of thing right here. I think maybe if we take if we take a couple of faces and delete them, we may be able to get this type of piece. So maybe we remove these four bases here, and then we could just take these edges and extrude them straight out. So EX and pull out like this. And so we're getting that little platform there. And then maybe we could take these two and move them back a bit forward, move this forward. So we're just kinda building this shape. And then we could connect these up with bridge edge loops, with Control E and bridge edge loops. And then maybe we could actually take these faces here at the F key. And these faces here. Let's see what happens. Alright, we've got that. So I think now I'd like to take these and bring them in, in the y s, why I like this. Kind of bring them in like that. So we're just getting that little kind of platform on the top so we can put a cylinder here. And so if we wanted to grab a bolt that we've already created, we did one up here on the fender, didn't we? That's where we got the other one. Let's take this one right here. And let's duplicate that shift D y. I'll bring it out. And over here is where we want it. All right. So let's bring that over to this side. And let's bring it over here kinda close to where we'd want it. And then I'll hit the period key on the numpad and I'll press Control three. And we really want to put it straight up and down. So hit the End key to bring up the sidebar over here. And let's take the rotation out of the x-axis. I'll just type in zero and that'll straighten that up. And then let's turn it in the y-axis. I'll press ry90 and it turns in the wrong direction. So now we hit the negative key and that spins it around. So that's in the correct orientation now. And let's bring this over and try and put this in place. I'll press Control numpad three and Shift Z to go to wireframe. And let's just hit G and move this into one of these cylinders here and scale it up a bit and see how we do. So let's say it's about like that. Let's try this. Okay, so it needs to go back into here, that period key again, and maybe I'll scale it in the x-axis so it isn't quite as thick. And let's see how that works. Maybe let's pull it up a bit. Bring it over a smidge and maybe I'll press RX and spin it some. Let's see how that works. Is that too big? I feel like it's too big. Bring it down just a hair. Yeah, let's try that. Let's see how that works. So from here, let's then just select it. And let's begin placing these all around. So Shift D here, Shift D. And I'll just bring them around and put them in place and see how they look. And as I've said, when I'm really trying to do is not create an exact replica of the motorcycle, but create an impression of it that's believable. That has enough detail that the eye can kinda pass over it and not really get too bogged down on any one piece. And hopefully it all works together and kinda blends together and you get a sense that it is the motorcycle and that all the details are appropriate. Alright, so we've got a good basic shape, I think in the next video, let's kinda finishing up with the pedal arm here, will create the spring. Here. We probably won't create a coil, but just a cylinder with some ridges for that. And we'll try and just get it to the point where, as I said, there's enough detail there so that it's believable and works within the space. So that's coming up next. 49. Continuing the Transmission: Continuing with the transmission, I think I'd like to make these edges a little bit more distinct. So I think I'll add a bevel to them. So let's apply the scale here with Control a. And then I'll just select this edge and this edge. And I better go to Edge mode or else it'll try and bevel the edges between these vertices and we don't want that. Let's just hit the two key here. Yes, see there's still selected there. So let's select these in edge mode instead of vertex mode. And maybe I'll also select this edge here. And let's press Control B. And let's see if we can add a nice bevel to these. Something like this. Maybe. There we go. Let's see how that works. Yeah, that just helps define that edge a little bit more. Alright, let's add some cylinders up here on the top. I'll just select this point here and press Shift S to move the cursor to it. And let's create a cylinder. Probably only 12 sides is needed here. And I'll also take away the cap fill. And let's scale this down. And let's put this in place here. Okay, let down like this. So ours is a little bit off from the reference image, but I think that's okay. Let's bring this out. Kinda like this. And it looks like it's a little bit off here now as if this isn't quite level. And I think we can maybe just bring this up like this and bring one down like that just to kinda get it a little bit more in line. And then let's just begin creating this. I think all we need to do is extrude this in and extend it up and then put a bolt on top. So let's try that. I'll tab into edit mode and will select this edge here and then hit E S and scale in and then E z and pull that up like that. Now we could grab one of these and just duplicate it and spin it in the y ry90. And let's put this up on top here. G and move this up here, scale it up a bit, make it a little bit taller in the z-axis, maybe, something about like this. Then we could smooth this. Let's try that. Oh, I need to move this back. Let's do that. One way of moving this into place. Let me go ahead and turn on auto smooth here and drag that up a bit. One way of putting this in place here is to select that edge and to move the cursor to it with Shift S2. And then we could take this object and press Shift S eight or selection to cursor. That will snap the center of that object to the 3D cursor or wherever the origin is, wherever that happens to be. There we'd go. So now we've got a bolt on top of there. We'll work on this piece in between those here in a bit. Let's try and get something here that looks kind of like this coil. As I said, I'm not going to go ahead and do a spiral spring-like that, but we can add a cylinder to this. Here we go. I'll go ahead and add it here. I'll move the cursor to it. And then let's press Shift a mash cylinder. I think I'll change this to 24 sides just so we get a little bit smoother edge. And then let's turn it into y or y90. And let's scale it down. I'll scale it in the ECS. Here we go. Something about like that I think. And then let's see what it looks like from this side. So the whole thing needs to come down quite a bit. I'll just hit the S key. So I should have waited to try and do the width until I got it a little bit more, the correct size. It's actually not too bad as it is. And then I'd like to add the front. I'd like to add ridges on the front. So one way that I can do that now I could have enabled cat bills for the cylinder, but I didn't because, well, I forgot. What I can do is hit E and S and bring this in and hit the M key and choose at center. And now I can select all of these faces here. And let's inset this. But before I do, I'm going to apply the scale because once again, the inset tool, just like the Bevel tool and so many other things uses the scale of the object. So I'll press Control a and apply the scale. So we have all ones over here. Then what I'll do is I'll hit the I key to inset. And if I bring this in, I'm going to bring it in about like this, wherever that center is, right in here, right about how big that is. And now that I've inset these faces here, our quads, if I hadn't have done that, they'd still be triangles, but they are in here. And I'd like to insert a bunch of edges to get this sense that there's ridges there. And the Insert Edge Loop tool control are only works through quad, through four-sided polygons. So I had to do something if I wanted to apply those here. So I'll press Control R and then scroll the mouse wheel quite a bit. And let's see, I've got 13 cuts here. You can see that here. So now what I'm going to do. Every other row of bases like this. We go and I'm just going to extrude them in. So I'll hit EX and push them in like this. There we go. So now we've got a sense that we've got ridges on that kind of like this. Now we can smooth this and we can turn on auto smooth. There we go. Yeah, so we've just got a sense that we've got something like that. Now. I feel like it could be a little bit bigger, maybe. Bring it in some. Yeah, let's do that. Then for this part right here. I think we could use a polygon plane and then give it a thickness with the solidify modifier. So before we do that, let's take all these pieces and put them into a collection. I'll take this and this and knees and all of these. We can join these together here pretty soon, but I'm going to keep them separate for now so I can adjust them a little easier. But I will take all of these that we've created and hit the M key and create a new collection and call it transmission. There we go. And then let's just hide everything. I will take all of this and hide it and all of this. There we go. So I've just got all those collections hidden now up except for the seat. Let's find that there it is. Okay. Now I want to create this thing, and as I said, I think I'm going to use a polygon plane. So if I press Shift a mesh plane and I'll scale that down a bit. And then I'll hit Tab. And I'm going to select this edge right here. And if I press the one key and I'll, I'll press Control one here. And I'm going to extrude this up and get this basic shape of this thing. So from here I can hit the E key and pull up like that. And you can see we're bringing that whole edge there. And then I can hit E and that again. Or to continue doing that, I can press Control and the right mouse button to extrude every time I click. Let's say I wanted another one here and then here. Now let's kinda curve it like this out a bit. And then straight up like this. Control and right-click just allows you to continue extruding with each click. Alright, so maybe I'll get something like this. Let's see how this worked. Alright. It looks like it kind of tapers in as it goes to the top. So I'm going to bring it out just a bit with the y. And then let's select just these two up on top. And what I'll do here in the left orthographic view is turn on the proportional editing tool here. And then if I hit the S key and y, I can then begin scaling here and use the proportional editing tool to kind of taper that down like this. I feel like we could scale out a little bit more. Let me turn off the proportional editing tool and hit the S and S and Y and move that out a bit. There we go. I'll turn the proportional editing tool off in edit mode. And now we could just give this some thickness. So let me smooth it first. Let's try that. Okay. Now let's go to the modifiers panel and add a solidify modifier. Let's choose even thickness. I'll press Control a and apply the scale. And then let's click and drag and maybe move this out a bit. Something like that. Let's go turn on auto smooth here, just so we get it. There we go. We can drag this up to smooth that out. Let me make it a little bit thicker because I think I want to add a subdivision surface modifier to it to get that curviness of it. Let's do that. So first of all, let's apply this solidify here. And then let's add a subdivision surface here. Then we can do is we can delete the faces on the top and the bottom and then they won't collapse so much. So let's hit Delete and delete this face on top and you can see that helps it so it doesn't collapse. I'll delete this face here and there we go. And now we can add a few edge loops, maybe to here. And let's do two back here. Let's see how that looks. Yeah, so it just gives us a little bit more of a curve. Maybe I'll drag the auto smooth up just a bit like this. There we go. Yeah, that's kinda nice. Alright, let's put it in place. Let's bring everything else back over here. Then let's go to the side view with control three. Let's bring this down and let's try and put it right down here, where this one is right there. I'll hit G and move that into here. Scale it down a bit. Maybe we could scale it out just a little bit more like that. And then we could also turn it. I'll just turn it a bit. There we go. Now let's bring it out. Kind of inserted into our cylinder here. Maybe I'll move this cylinder a bit to match it as well. Yeah, so I think that works pretty well. I might tilt this just a bit RY, move it back a bit fat. So in the next video we'll continue working on this, maybe add this piece here, the cap here over this whole. And also I think what I'd like to do is create this exhaust pipe here just to get a sense of where this is going to go. So we'll work on that coming up next. 50. Finishing the Transmission: Alright, let's keep working on the transmission here. I think what I wanna do is work on this little cap right here. And I don't think I need to do much more. There is some curve up to it here, but I think we can probably get away with just placing it there. So I'm going to press Shift S to, to move the cursor and then shift a mesh cylinder. And it looks like it's only got six sides. So I'm going to type in six here. Let's type in 0.01 and 0.02 for this. And then I'll scale it down a bit. Let's scale it up a hair. And then let's just try and turn it and put it in place. So I guess I'll just press RY 90 and just turn that. Then our Z we can kind of angle it like that. And then I'll just kind of go from the side here and bring it up or turn it. So it's more in line with this piece. And I'm just going to tumble around and try and get this kind of sitting on top of here as well. Let me change to local transformation and then I'll press R, z and spin it just a bit like that. And I'll move the cursor back to the grid with the shift us one and select something else. So I don't see the object origin in there and just yeah, I think we're getting close. I just want to maybe tilt it this way. And then we could apply the scale with Control a and then tab into edit mode and just grab these edges here and here. And let's bevel those a bit because it looks like it's worn or curved. They're just a bit, I'm going to press Control B and just scroll the mouse wheel to get a couple edges in there, something like that, let's say, and then let's smooth it. Yeah, I think we're getting there. Let me turn on auto smooth. Alright, what about this thing right here? This goes all the way to the other side and connects to a piece over here above the chain guard. Let's take a look at that. Let's see if we can find a reference image that will give us a better image of that. Maybe this right here. Let's take a look at this. Yeah. So you can see this piece comes across underneath the oil tank here and then curves up Over the chain guard. So this goes all the way underneath here. So let's see what we need to do with that. I will select this piece. And if we tab into edit mode and Alt, click between two of the bases to select that face loop with now press shift us to move the cursor there. And I think what I wanna do here is maybe begin with a sphere. Let's try that. Shift a mesh UV sphere. And of course it's huge. We don't need it quite that big. So maybe we put 18.12 and our segments and rings field. And then in the radius, I'll type in 0.01. Here we go. So now let's scale it up a bit. I'll go ahead and smooth it. Let's tab into edit mode. And I feel like if I just take off the faces on the top and the bottom will have that kind of flat area there. So let's try that. I'm going to press Alt Z, hit the three key. I'm just going to take off this area. And this area here. Hit Delete and delete faces. And then I'll press Alt Z again. Now we've got this piece that looks kinda like that. Yeah, I think that's what we want. Maybe I'll press S and Z and scale it up just a bit. But now we could grab these edges right in here and press E, S and scale that in. And this one here, ES. And we go just to close that up. And I'll also turn on auto smooth here. Okay? Now, to get this bar going back, I think what I wanna do is just grab some faces and then just extrude back. So I'll go to face mode and hit the C key for circle select. And maybe if we select just these faces, I've got what five columns here of faces selected. And then I just want to extrude straight back. Let me make sure I'm in Global here. And then I will just press EX and just pull straight back like this, right? Something like that. Then we've got a bend it up and then out to get this right here. So there's a couple of ways we could do this. We could bring this out and then add an edge here and then extrude those faces up. And then basically do that again up top. Why don't we try that? I'm going to press the S key and x and scale in the x axis to flatten this up. There we go. Then I'm going to add an edge loop. I'll press Control R, click and drag it forward here, something like, let's say something like this. Then I want to take these faces here. Let's take these and I want to extrude these up in the z-axis. So let's press easy and pull this up. Let's hit Z again. There we go. And pull that straight up. Let's do that again by inserting an edge loop and extruding out. So I'll press Control R and add an edge right here. And then these, we can take these. And let's extrude these, forward it, the E key and pull out like this. Alright, let's see what we have here. So now we've got something like this, alright? And what we can do now is the origin of this object is still here where that UV Sphere was. So if we rotate it from here, we should be able to bring it back behind this bolt. You see how it's kinda behind that. So let's do that. Let's press R, z and just turn it and bring it back like that. It looks like it needs to come forward some. So I think what I'll do is press Alt Z and let's grab these points here. I'll see you again. And then I'm going to press Control and the plus key and expand these points here. I've got all of these selected, so let me de-select these. I'll press Control and drag select those. Okay, now, I can just move this forward and I don't want to move it in the x global, that'll just pull it this way. I'm going to change to local and now it'll pull it in the angle that the object is at, something like this. Maybe. Let's try that. Yeah, actually that's not too bad. I think for now that's all we need. And then it's going to have to connect up here, right? For the gear shift, I believe. But we'll work on that part later, so okay. We've got that over here. Now, what else can we do over here? Well, there's this piece right here, it's this cylinder. And then this kind of platform bolted onto the transmission housing. I don't really have no idea what that is. But I think we should go ahead and try and place something like that in there. So let's work on that. I think what I'll do is just, well, let's find a point that we can put the cursor and I will just select this one and shift us to bring the cursor here. And then I'm going to create a cylinder. This is only got six sides, so I'm gonna take this backup to 24. And I will also use a triangle fan on the cap. So let's scale this up. I'll turn it into y ry90, scaled up a little more, scale it in the, well, let me change back to global here. Scale it in the X. And let's kinda put this in place, see if this is big enough or small enough. And maybe I'll move it back into here like this. So let's say it kind of sits right in here. It looks kinda like it's underneath this thing here. And above this. Maybe I'll bring it up a little bit more like this. Alright, so now that we've got that, Let's work on this piece here. I think for that I just want a polygon plane. So let's go ahead and create the plane here. I'll take it down to 0.1, let's say. And I believe I just want to take this edge back here. Let's do that. Take this edge and let's extrude it up in the z, e, z, pull it up like this. And then this right here. Needs to fold over this piece. Think I just want to turn it. So maybe I'll press RX and kinda tilt it like this. And then let's just pull it straight down. And then I want to extrude down. So let's pull this back to here and then just extrude straight down E and Z and pull down like this. Something like that. I feel like it should go like this. And then let's add a few edges here and then just begin pulling these straight down. Or maybe we should change to normal and pull them down like this. Let's try that. Just to kinda bend them down around this curve. Something like that. And then let's take this up here. And I guess if we take this edge right here and scale it in, Let's go back to global and I'll scale it in the y, pull it in like that. So it's inside here. I think I need another edge right in here and I'll scale this out in the wild like this. Kind of to the width of that. Let's see. And then let's see what else we need to do. How about we give it some thickness? Let me take this and bring it up a bit. There we go. So now we take this, let's smooth it. Let's turn on auto smooth. Let's give it a little bit of thickness with the solidify modifier. I'll press Control a and apply the scale. And let's choose even thickness and pull that in about like this. And I guess we can bring these in now. Back a little bit farther, like this. There we go. And then we could just add a few of these here. We can press shift D y and move that over. And maybe I'll take all of these here. Let's bring them up a bit. We don't have too far to bring them up. We can bring them up a bit like this and that'll give us a little room to kinda shrink these down and place them in here. And then we can press shift D y, move it over here, move it down. I'm just trying to get these little bolts in here. Something like this, let's say, and I'll spin it RX. That. Let's see how that works. Yeah, okay, and then finally, let's smooth it. Turn on auto smooth. Let's apply the scale and select this edge and bevel it a bit. There we go. And lastly, what we could do is just take this point right here, move the cursor to it with Shift S to grab one of these, press Shift dx just to move that out a bit and then let it snap that to the cursor. Shift S eight. There we go. So there's that piece. In the next video. Let's work on this petal for the kick-start. 51. Beginning the Kickstart Pedal: Alright, I'd like to do some work on this petal here, but I think I need to do a little bit of organizing in the outliner first, let me right-click and duplicate area into new window and let's expand this. And then I'm just going to hit the Minus key on the numpad to collapse that up. So these things, what are these things? This is the stuff we've just been working on, right? So we could put this in a transmission or the transmission collection. Let's do that. Let's just take these and drag them in. And we've still got this seat just hanging out here, I guess. Maybe it's closest to the chassis, to the frame. So I'll just this and drag it in there just so we have everything in some sort of collection for the time being. And then I'm just going to click and drag and hide everything. There we go. Now we can begin working on this pedal. I think really we just need to begin with a cylinder here in the center and then work on the outsides and the little pads here in the center. So let's do that. Let's press Shift a mesh cylinder. And I probably don't need this many sides, but let me take it down to 16. And then I'll choose nothing for the cat fills at least for now. I don't know, I may need those, but let's just to scale this up and try and get this in its basic shape here, I'm just going to move this up. Let's turn it in. The y-axis here, our y nine zeros, so we haven't liked that. So here we are, this piece right here. I'll scale it out in the x. And then let's work on these pieces right here. So for this, let's take this edge right here. This shift is to move the cursor to it. And then let's press Shift a mesh and I'll create a circle. And let me give it 24 sides. And I do want a cap fill for this one. So I'm going to choose triangle fan. Here we go. And let's turn it RY 90. And let's get it down to about this size right here. I'm just looking at this part right there. Let's scale that down. And I'm thinking maybe about like this big, you can kinda see how wide it is there. So let's go with that. And then what we can do, this, press the three key to go to the right orthographic view. And what I'll do, I'll press Shift Z to go to wireframe. And I just want some of these points to extrude up. Let me maybe something like this. But before I do that, let's cut this in half. Let's take this and just take the bottom and let's delete it. Delete faces. And then let's mirror this. I'm going to go down to the modifiers panel and add a mirror modifier here. And this is interesting. We've got the mirror, mirroring in the x, but it's mirroring properly in the z. And that's because if we hit the End key and go back to object mode, we can see we've got a 90 degree turn in the y-axis. So if we did this correctly, we could press Control a, apply the rotation. Now we don't see it here. Now we can come down here and change it to the z-axis. And now that's mirroring correctly. We could have left it the way it was, but I like to be clean about these kind of things. Sometimes, not all the time. Alright, so let's go back here. I'll turn the cage on. Let's go back to the right orthographic views. So now, when I select these, let's say these six sides or edges right up here. They're also selected on the bottom. So now what I wanna do is just extrude up for this. And if I hit E and Z, I'll pull up a bit like this. And then I think I want to deselect these and let's press E, Z and bring these up again like that. Alright, so now I'm just trying to get that basic shape and then we can just pull some points to get that kind of curve there. So what we can do is maybe grab these points, bring them up to scale them and the y just a bit. Maybe bring these n like this, maybe bring these in. Sy. We began to get something that looks like that piece on the end there. Maybe I could bring these down a bit. Let's see how that looks. Yeah, so that's kinda what I want to just that basic shape there. Then we could give it a little bit of thickness with the solidify modifier. Let's do that. I'll come down here, go to solidify. We could choose even thickness. I think I will apply the scale. Let's do that. Control a apply the scale. And now we can see it a little bit better there. I'll just click and drag and make that a little bit thicker. Maybe something like that. Let's now work on one of these pieces right here. So I think all we really need for that is a cube. I'll move the cursor there and press Shift a mesh cube. Let's scale this down quite a bit. Move it up here. And if we scale it down to about where we want it, let's see maybe something about like this. Let's say, let's try that. Scale it out in the x. Yeah, I feel like they're a little bit taller this way. So let me scale in the z about like this. Yeah, maybe that's a little bit better. So it kind of sticks up over the top of that. Alright, let's take this and duplicate it and bring it over to the other side shift DX. And let's just bring that over here like this. The next thing I'd like to do is work on these grooves here. I don't want to duplicate this until I create those. So let's take a look at that. I think what I wanna do, first of all is just insert some edge loops. So I'm going to press Control R and scroll the mouse wheel. And how many do I have here? Seven. Let me go up to nine here. And then I'll scale these Anna bit SY, so that I have a little bit of room to bevel those outside edges, those corners. And let's do that again down here. Let's also do nine down here. And once again, I'll scale in the z to give some room on those corners like that. Let's take these bases here. Oh, I wish I would've had one more. That would have been nice. Let me do ten then I'm going to undo all of this and do ten. Because I think it would just look better. Let's try that. And then S Y and move those in. Yeah, and then we've got ten down here, Let's do that and scaling the Z. Now, if I take these, hopefully we'll have enough to go all the way to the outside on both sides. So from here, I'm just going to extrude and scale in the z and the x, but not the why. So let's hit E, S, Shift Y to turn off the y-axis. And I'm just going to bring all this in just like that. Now maybe I want more with the z, so our scale in a little bit more with a z like that. Okay? And then let's do the same thing over here. Let's select all of these. And then let's do the same thing but without the z-axis. So E, S Shift Z, bring those in just a little bit and then I'm a scale in the y a little bit more SY, and bring those in like that. Alright, let's see what we have here. Yeah, so I just wanted something like that. And if we want to be able to see that a little bit better, It's kinda hard to see the edges. We can come up here to the viewport shading and turn on cavity just so we can see those a little bit better. I mean, we're seeing all of this. I guess I could smooth that. There we go, That helps. And we could smooth this. But we ought to wait until we apply that solidify, but I'll move down here. Turn on auto smooth. Yeah, that helps. Then we can drag that up a bit. For this. There we go that cleans that up. But I just wanted to turn on cavity just to see that I think that's going to work okay. That, and duplicate it. Shift D and Z. And let's move it down here. Like this. I should probably smooth this and drag that up a bit. There we go, just to get those looking the same. And then let's just add this piece right here. I think. We could just use a cylinder and then bevel an edge here. So let's do that. Let's just select this point right in here. Shift S2. Let's create a cylinder. And I'll turn off cavity for now. We go. I'll leave it at 16. I'll turn on triangle fan. Let's take these down to 0.1 and 0.2. I'll spin it in the y. Maybe I'll remove this cap here. Let's hit the C key and just select all of those, delete those faces. And then let's just kinda put this year, scale it up a bit, something like this. And then we could just bevel that edge here. So let's press Control a and apply to scale. Select that edge. Let's bevel it quite a bit that we go and let's smooth it. Yeah, I think that's looking pretty good in the next video, but let's do it. Let's create these little pieces back here. And then we'll combine everything and put it on the motorcycle where it needs to be. 52. Finishing the Kickstart Pedal: Well, I realized after just saying I didn't want to duplicate this until I was finished with it. I actually did that. So let me just hit Delete before we duplicate this here, let's add a bevel to these edges all the way around. That's why I gave a little space for those here. So let's make sure our scale is correct. We've gotten non-uniform scale here, so I'll press Control a and apply the scale. And then with these edges selected, let's press Control B. Pull these out and I want to scroll back so it's just one segment. There. There we go. Yeah. Okay. Now we can take that and duplicate it. Let's do that. Shift D Z and bring that down here. Alright, now let's get these little pieces here. There isn't a whole lot to them, but we can go ahead and do that. What we can do is take this right here. I'll take these points right here. And let's bring these out. I want to get this piece right here. I can just use this to bring this out. And then hit E, S and scale in, and then press M and merge those at the center. We could also turn on auto smooth, that'll help with that. And then this piece, it looks like it's just really a cubed. So lets just grab that point. Shift S2. Let's create a cube. Shrink it down quite a bit, and maybe it's about this thick. Let's say we can scale it in the y. And we could also bring it out here with this face right here. Bring that out. Then for this top here. Let's once again bring the cursor to there with shift S2 and we can create, we got a cylinder here and another one here, a little washer and then a bolt. I don't think I need that really tiny little washer in there. I don't think we need that. Let's create a cylinder. I will turn off the cap fills. 16 should be good for this size. Let's scale it down and I think I'll just do it all in one. Well, not all in one, but these two cylinders in one scale, this out. There we go. And then what I'll do is I'll just scale or extrude and scale and I'll just select this, it ES and bring that in. Easy ES. And then we could move the cursor to here shift S2. And then we could create a new cylinder and give it just six sides. And we'll give it a cap fill, maybe a triangle fan. Now we can scale it in the z and kinda put it right on top of here. There we go. Then let's move this here. Probably want to do that. And also, we could take these ear, these edges here and give them just a little bit of a bevel just to kind of recreate that curvature there. Let's try that. Let me apply the scale, control a, apply the scale. And then let's grab these here on either side and press Control B. Scroll the mouse wheel a bit just to get a little bit of curve there. Yeah, that should work. Is that big enough? I feel like this piece back here may not be big enough for the size of this whole thing. So let's take all of this. Maybe scale it up a bit and move it back out. Let's try that. I just feel like it wasn't quite big enough. Yeah, I think that's a little bit better. Alright, now we need to combine everything, but we need to make sure that our modifier stack is the same for everything. And I know I added a modifier. Here we go. This piece here has a mirror and a solidify. So let's apply the mirror here. Actually, before I do that, I better turn on Clipping just in case Let's do that. Apply the mirror, and then let's apply the solidify here. We could do the same thing over here or just delete it and move that other one over there. So i'll, I'll do that. I'll just take this, grab it and move it over. Let's see where it should be here. Maybe right about here. Oh, you know what, we should do? These little pieces right here. Let's take a look at that. I'll combine all of this and then let's move it over to the motorcycle and grab a couple of existing bolts off of there and put them on here. So let's take everything, all of this, this and this. And let's combine it with Control J. We go, we may need to. Come down here and turn on auto smooth again. Sure enough. All right, then let's move the origin of this object to this face right down here. Drag that up just a bit. Here we go by tab into edit mode. I'll select this face and move the cursor to it. And then let's move the origin of this object to that cursor object set origin, origin to 3D cursor. Now, when we bring everything back, Let's do that. I'll call this, I'll just call this petal. Let's bring everything back. And let's put it in here. I'll turn it in the z-axis, RZ 90, but wrong way. Hit the negative. There we go. And then Enter. And let's go to the left orthographic view with control Num pad three, and I'll scale down a bit here. Move this down here, still a little big, right? Let's press Shift Z to go to wireframe. And let's scale this down till we get it about way we want it. And it looks like I need mine to be a little bit taller. Because if I scale it down to the point where it's long enough, it's not quite tall enough. Let's scale and the z. Let's try this. Okay, let's try that. Yeah, that's actually pretty good. Let's do that. I'll bring this back over here. I want it to be right around in here and before I tilt it, I want to put on some of these bolts, so maybe just one of these right here. Let's press shift D and X and move this out here. Let's turn it in the z, our z90, Is that the correct way? We can work with that? Let's move that over and let's get it right here, right at the end. Let's do that. I hit the period key on the numpad to zoom in. And maybe I'll go to the front view here. And let's just take this kinda place it right there. Let's try that. Actually, the size isn't too bad on this. So back it might even be a little bit small. We could bring that up a bit. Now let's press shift D Z and bring that down here. Ry, spin it a bit. Let's take a look at it. See what we think. I'll move that up a little bit. And move this up a little bit. There we go. Let's try that. Yeah, I kinda like that actually. Alright, so let's take these two now. And let's duplicate and move them into Y, Shift D. Let's spin them in the z or z180. And then let's put these in place about like that. Then we can combine all of these onto this existing object here with Control J. And then we take all of this and let's put it right in here. Alright. Now we could go ahead and tilt it, right. We can go ahead and maybe tilt it in the x-axis to align it with this. Our x, tilt it back just a little bit like this. This is kind of bumping up against that. So maybe if I tab into edit mode, Let's go to local transformation. And maybe I take these and just scaling the z, z with all these selected. Maybe I can just do that. Let's try that. Yeah, that moves that out from there just a bit. And then I feel like there's just a little bit of something going on right at the bottom here. So what we could do for that is maybe add an edge in here, Control R, something like this, and maybe actually two. Let's try that. And then if we take these faces here, let's turn on the cage, and let's just scale out in the x-axis, That's press S x and just scale out like this. And then maybe take this edge and move it up like that. Let's try that. Yeah, it gives it just a little bit of an edge there, something like that. Yeah. Alright, there we go. Now we've got our pedal for the kick-start. 53. Beginning the Exhaust Pipes: I think this petal looks pretty good, but when I scaled it up in what was the z when I was in global, it kind of stretch this a little bit. I forgot that I had a, a big circle there on the end and it really shows. So what I'm gonna do is just change that a different way. First of all, I'm going to scale it back in the x here in local, since I've already turned it on a scale it back down so we get a circle there. And probably the way I should have done it, let me press Shift Z here and I'll scale it out so it's as tall as the one in the reference image here. But then I should just probably take this part in edit mode and just pull that back to where it should be like that. So that's probably the way I should have done it. Let's see how that looks. Yeah, I think that looks better and it preserves that circle there on the end. Alright, I just wanted to tweak that a bit. Now what I'd like to do is work on that exhaust pipe coming down here past the transmission. And to do that, I think all we need is the path tool again, just like we used for the frame or the chassis. So let's go ahead and move the 3D cursor into the center of the grid with shift S1. And I'll press Shift a and go to curve and path. And then I'll just scale this down a good bit. Spin it in the y or y90. And let's come over here to the left orthographic view. Let's move this up into here. I'll press Shift Z so we can see through it in wireframe. I'll scale this down a bit and let's just begin right around in here by tab into edit mode. And I can begin just moving these around. Let me go back to global with the comma key here. And then let's just kinda take these and move them around. And as I do this, I tend to want to put the points here in the center of this exhaust pipe. But what I really need to be doing is moving the points. So this curve follows the outline of it. So I really need to go over here, right? So just moving that and keeping an eye on that curve right here. So from here, I think I need to just extrude. I'll press E and bring this down a bit. And E and a couple of times down here. Now it's going to have to turn into this other exhaust pipe. It kind of bends there at the end. But let's see how we're doing here. I think that's okay. And now let's bring it out in the x here. And then I'm going to create the tube or the pipe around that path before I tweak it to much more. So let's come over here and scroll down to the object data properties right here. And if we scroll down to the geometry area under bevel, we can click and drag on the depth and bring that out to about where we want it to be. Now, it's a little bit dense here, a little too full of polygons. Let's take this resolution preview you down to four. I think that helps a little bit there. So now if we go back to our side view, we can see it here. We can tab into edit mode and we can begin to move this around a little bit more to get it in line with the image. Maybe something like that. And then we tumble around. We can begin bringing these in and out as it goes into the engine over here like this. So maybe I'll take these two, bring these in like this, and maybe bring them forward a bit. And I'll drag this one and I'm just going to try and get this kind of inserted into that engine cylinder here. And let's bring this one in. This one. Let's see how this works. And I feel like we need to bring these out just a bit. Alright, let's see what we have here so far. So if I look at it from, say, this angle, how does it look? It looks like I need to kind of bring these in just a little bit. So they're kinda straight. I see this part right here. Let's try that. Yeah, I think we're getting there. Like it maybe needs to be just a little bit bigger. So I'll come back down to the depth and maybe type in 0.55. Let's try that. Yeah, okay, and then down here, I just want it to turn into this area here. So let's just take this. And I will select this and just hit E and pull this in like this. Let's try that. Now that we've got that, let's also work on this exhaust pipe right here. We could probably add that in here, this one here. So let's take a look at that control three to go back to the left orthographic and Shift Z. And here we go. We can probably just drop a cylinder and let's do that. I'm going to shift and right-click and drag the cursor over here, press Shift a mesh cylinder. And instead of 32 signs, maybe I'll take it down to 24. And let's type in 0.1. And actually, let's just change this to nothing so we don't have any Cat fills and that'll just scale this down like this. And let's turn it in the x-axis, RX 90. And so there we go. That's not too bad. Let's scale it down. Just a smidge here. And I think I'll move it. And let's begin with this part right back here. I'll press G and Y and move it so it gets right in here. Yeah, it looks like it needs to come down more. Be a little bit thinner, something like this. We go, okay, and then back here, if we just take these points and move them back to here, I think we won't be okay a little bit angled, but I think that's okay for now. We'll just kinda pushed through and model it on the global axes first. So let's see if we can find a better image of this piece. I'll go to Image open and let's take a look at this one here. That's not bad. We can get a fairly good look at it here. So if we wanted to, we could take these right here. And we can begin extruding this to get these little ridges here as if they've been inserted together. So maybe I'll just press S and scale out EY, and let's just pull this forward like this. And maybe than ES and I'm going to scale out a little bit more. And EY again, extrude and scale n. And then let's extrude out in the y to about here. Oh, it looks like there's an edge right there. Let's bring it back to here first. And then let's hit E y, bring it to here, scale it down. And then we get this part here. And we put a little edge on it here. The S, uy and extrude and scale that in just a bit like that. Alright, let's take a look at it. Well, first of all, it's inside the bikes, so we need to move that out. Let's do that. And where do we move it to? We move it to the outside of the frame. Right? So let's just move this out to just outside the frame here. I'll press G, x and move it until we get just. There we go. I think that'll work. Then on this other side, we need to do the same thing for this piece over here. I'm gonna go ahead and smooth it here and then come over to the auto smooth and turn that on. Now this looks very similar to this piece over here. Could we just duplicate this and take it over to the other side? Let's try that. I will go to face mode and Alt click between two of those faces and then press Control plus. And let's bring this out about here. And then we can just press shift D Y and bring that over here. We can spin it in the z-axis, RZ 1AD. We go and we can just bring this and put it right at the end here. Let's see if we're in the right place. Yeah, I think we're pretty good right about here. That'll work. And if we wanted to, we could go through and add a few bevels to this. In fact, I probably should have waited once again to duplicate that until I add any bevels. But we could take, we can take this edge here and this, and this. And let's hit the period key and zoom in and maybe this. And we could add a few bevels in here just to curve those edges just a bit. So let me press Control a and object mode and apply the scale. Then if we come back here, let's press Control B, and I'll pull out just a little bit. Maybe add a couple of edges in there and let's see how that works. Yeah, That's kinda nice. And then for these here, we should do that. I just wanted to do these a little bit more, a little bit bigger of a bevel here, something like that. Too much, but something like that. There we go. Then we can do the same thing over here. We could add just maybe one here and one here. Let's do that. Just a small one. There we go. Alright, so now we have that. Now I should redo that. Alright, let me, let me do that. I'll hit the L key here and press Delete and delete faces. And then I'll come back over here. And let's just select a face loop right in here and press Control numpad plus. And I'll just extend this on down. Basically do the same thing. There we go. Now, I'll duplicate this shift D y, once again, our z1 AT, and we'll put it back on the way we had it. Here we go. Alright. Yeah, I think that looks pretty good. So now we've got those two exhaust pipes in. Looks like I might be able to bring these forward just a bit. So we don't intersect with this here. But in the next video, what I'd like to do is work on this little box right here. I'm not exactly sure what it is, but I think we need to work on this just to fill that space there. So let's work on that coming up next. 54. Modeling the Tool Box: Alright, I've brought a couple of reference images up here, and it turns out this is a toolbox. I've got a diagram here of the bike and number 26 is a toolbox, so that's what that is. So let's work on that. First of all, I'll go back to the left orthographic view and let's press Shift Z. And I'm going to take the cursor back to the center of the grid with shift S1. And then I will just press Shift and right-click and move the cursor right here. And then let's go ahead and create a cube here. It's probably way too big. There we go. And let's just scale this to about where we want it. It isn't exactly an orthographic view here and that's fine. We're just going to use this as a guide. So maybe something like this and I don't want them to intersect with the frame here. So I'm just going to move that over just a little bit like this and maybe shrink it down in the z, just a hair like that. So just to get it, so it's right in between these two parts of the frame here. And then let's bring it out to where it needs to be. I feel like it needs to come out. It looks like it Fairly in line with that exhaust pipe there. I'm going to scale it in the x, bring it out just a bit. And then it's got a curved front to it. And I could use a subdivision surface modifier for this. But I think what I wanna do is actually just use the Bevel tool to get all these curved edges. But I do think I maybe need to add, say, three edges in here. And then take these and kinda pull that out. Then pull the center one out just a tad, just to get these curves out just a little bit like that. And once we smooth that, I think it'll be pretty good. Then I feel like there's a ridge or something like the door opens or there's a little door on the front, there's a ridge here, so let's get that. And now that we've pulled this out, we may have to use our even flip tool. So let's get this right about here. Let's press the E key and then press the F key, and that'll flip it back and forth between the front and the back. And I just want it maybe right around here. I'm doing that because I want that edge to be straight. And then I think I want to bevel that. And before we do that, let's apply the scale. So I'll press Control a and apply the scale. And now if I bevel this, I'll press Control V and just pull that out just a little bit and I don't want all those edges, so I'll scroll back. I'm just gonna give it a little bit of an edge right there. And then I want to extrude that end so into the Z and Y global axes, but not the x. So E S Shift X to turn off the x and I'm going to pull those in just a bit like that. There we go. And then what else do we wanna do here? We want to, well, let's smooth it. Let's do that and let's turn on auto smooth. That helps there. Now at night to get all these rounded corners and to get these kind of rounded corners in front here, I think we're going to need to do all the bevels at once. So let's right-click this, and I'll shift click these, and then these around the corners here. What do we think? Do we need something on the back here? I kinda think we do. Let's go ahead and select all of these edges all the way around back here as well. I like that. Let's just do all of these at once. And when we do that, it'll give a nice curve on the corner here. So let's press Control B and pull out, scroll the mouse wheel. And let's maybe do something like this. Let's try that. See what we think. We can drag the auto smooth app to see if that helps any. I think that's pretty good. I think that's what I was going for. And then this little piece right here, I don't know if I want this, but I do want the circular bit. Let's maybe take this edge here and bring the cursor to its shift us to. Then let's create, well, let's just create a circle there. Let's press Shift a mesh circle. Let's take the vertices down to 24, and I'll take the radius down to 0.01. And let's turn it RY 90. There we go. And how's that? Look, let me bring it down to where it needs to be right in here. Is that big enough? Now I don't think it is, so let's scale that out just a bit. And then we just need some extrusions to get little ridges here. So let's tab into edit mode and I'll hit period key to zoom in. Let's hit E x and bring it out. And then I'll press S and bring that in x and bring it in just a bit like this. E S E X. And I'm just getting this middle ridge right in here like this. Let's then bring that in with e and x. Then I don't really know what's in there. So I'm just going to put a dome or a curve in there. So I'm going to press S scale in, pull out, ES scale in, pull out. Something like this. And then I'll just hit E S and then hit the M key and merge at the center. We go, so something like this. I'll go ahead and smooth it. Auto smooth. Let's add a bevel or two to this. Maybe I'll apply the scale in object mode. And then maybe if we do a couple of edges like this and bevel these not so many edges there we go. Something like that. Yeah, I think that's really all we need there. I feel like the whole thing could be a little bit taller, but I don't know that I have the room in here to do that. Let's see. Yeah, I have a little bit of room. Let's do that. Let's press S and Z and just make it a little bit taller. Yeah, I think that works out pretty well. I really think that's all we need. And lastly, let's, let's go ahead and clean up our outliner. I'll once again bring out a new window of the Outliner here and hit the Minus key on the numpad. And let's take this piece and this piece and join them together with Control J. And then let's call this toolbox. This is an exhaust pipes, so let's put these in a collection. I'll press the M key over here and add a new collection. Let's call it exhaust pipes. There we go. The petal here can go in the transmission collection and the toolbox. Don't really know where that should go right now, I guess it's connected or clamped onto the frame. So let's put it in the chassis collection there. Let's just do that. Alright, I think we're coming along. 55. Beginning the Circuit Breaker: Well, the next thing I'd like to work on is this breaker case. Let me press Control and Shift Z and go in here. And this area right in here, these pieces. And I've got some reference images here, kind of zoomed in so you can see these pieces. And I think this is a nice bit of detail. I'd like to add this and we're not only going to have to add these parts, but also this kind of a base here where the pieces are mounted onto and it's coming out of the engine case or it's part of the engine case, I think, but I may just have it be a separate object and then just kinda push it up close. We'll have to see, we'll see what we can do here. So the first thing I think I want to do is just bring in this cylinder right here and kind of get it in place first. So let's go here to the left orthographic view. And I will just shift and right-click and bring that cursor right there to the center of that cylinder. And let's just press Shift a mesh cylinder. We could probably reduce this down to 24 sides, let's say. And then I'll type in 0.01 and 0.02 to really scale that down. 0.01, I guess I did. That's fine. I'm also going to change this from global to local so that as we turn this, our axes turn as well with the object. And let's press S, Z, maybe get it to about, about like this, let's say. So I'll just grab these points up top and let's begin extruding these up. So did I make this with a cap fill? I did. I made it with an end gun up here. Probably should have done a triangle fan, but I think this will work. Let's go ahead and go with this. I'll press E and pull up and then S scale in a bit. And then E, S. And then let's just press I and inset that. Bring it up just a little bit here. And then E and S. And I'm just working on this piece right here, E, S, and let's just bring that in. And then once again, as we've done before, I'll just extrude and scale. And then let's collapse these into a single point by pressing the M key and merge at the center. And there we go. Now we can just drag that up a bit like that. Okay, So we've got that basic shape there. It feels like it's a little too tall now, doesn't it? Let's take a look at this again. Maybe I'll scale it down just a bit like this. Let's try that. Okay, how about this piece over here? We've got kind of a cube here, this black thing. And then we've got also this platform that all of this is on. Maybe let's work on the platform kind of established that first. So I'll shift, right-click, bring that in here, press Shift a mesh cube. Let's bring this down to 0.01. And then what I'll do is scale in the y. And I'll scale in the Z, s, z. And let's turn it, kinda put it in place. I'll press Shift Z to go to wireframe. And it looks like it could go right about in here. I'll scale it in the y some more. There we go. So let's put it right about here. And then let's scale it out in the x. So it's just a little bit wider than this cylinder here. Something like that. And it reaches out for the cylinder and there, these straps here. So let's see if we can get that. I'll maybe tab into edit mode and let's create two edge loops in here. And then maybe I could grab this edge and this edge and just pull them forward a bit. Let's try that. Just pull them forward there like that. Then I guess we could maybe bevel these edges in here. Let me select this edge and this edge. And let's tap into object mode and apply the scale here with Control a. And now let's press Control B. And let's pull this out and kinda scroll the mouse wheel and get a curve around there. Yeah, something like that. So it just kinda curves around there. And then for these kind of straps on the side, Let's take a look at this. Maybe if we added an edge loop right in here. Let's do that and then took these faces here with Alt click. And then what I'm gonna do is just hit E and then Enter and then I'm going to press Alt S to use that shrink fat and tool. Here you can see it's Alt S. So I'll press Alt S and move the mouse just a bit like this. I'll hold the Shift key down to move it a little slower like that. Okay, and then this inner part, inner strap here, I'm just going to add maybe two edges here, bring them down. So it's kinda centered along this piece here. And then I will once again select these faces, it e and enter, and then Alt S. And let's pull these out just a bit here too, like this. There we go. Let's try that. I will smooth it. Turn on auto smooth. And I feel like we need a rounder edge up here. So let's work on that. I will press Control a and apply the scale. Select this edge. Here we go, select this edge and press Control B. And let's kinda round this off a bit like that. There we go. Yeah, okay. I think I could maybe take this edge and bring it down, some like that. There we go. Alright, so we've got that. Let's establish this cube here. Let's do that. I will select this face here and press Control S to bring the cursor there, I'll press Shift a mesh cube, and let's then take this cube. I'll bring it up here. I'll turn it just a bit and let's scale this up and get it in place. I'll press Shift Z, and let's scale it in the y. Scale it in the z. Sum like this, bring it up. Yeah, something like this. Get that like that. Maybe I could turn this just a bit so it's not, so it's a little more in line with that cylinder. Let's try that. Then bring this down. Alright, let's take a look. Yeah, okay, that's good, but let's scale it out in the x like that. And then there's a thing on the top here. It looks like it's words, but I think I'll just put a plate on there. Let's just grab this piece right here and press shift D Z and bring it up. And then I'm going to split it out as its own object with the P key and separate by selection. And then if I tap back into object mode, just select that one piece. I can take it and maybe just extrude it straight up. I'll hit E and pull it up, something like that. And then if we take that whole piece, scale it down. And I just wanted to fit right on the top of here. Maybe S wide, make it a little bit narrower. Maybe a little smaller. And then if I press Control a and object mode and apply the scale, I also want to move that origin to the center of the geometry. There we go. Now let's take these edges here, maybe this edge, this and this, and this. And I want to press Control B and bevel this. Just so we have kind of a rounded thing on top of there. And I guess I can smooth it and turn on auto smooth. There we go. Now for this piece, we probably want to bevel all these edges. Now, don't we? So let's press Control a and apply the scale. And then let's grab all of these edges all the way around, all at the same time. So we get those nice corners. And then let's press Control B and bring this out like that. There we go. And we'll smooth that and turn on auto smooth. And then maybe let's work on some of these things down here. Now, I'm not going to put this hole in here, but I do want this cylinder. I think that'll work pretty well. Let's press Shift a mesh cylinder. And I don't need so many sides, so I'm going to take this down to maybe 12. And let's change this to a triangle fan. And then let's just scale it down. Scale it in the z. And I think there it is right there. That's what we're seeing here. So let's bring this over here. Turn it a bit, scale it down some. And I just want to bring it right into here. Something like this. Let's bring this down. So right about here, Let's say I'm going to bring it up like this. And then I want to put a bolt on the bottom of that. I think that's a bolt down there. Let's try it. Where would I grab a bolt? Well, I can grab one over here. I'll just do that. Shift D. Why? Bring that over here, bring it up. And maybe I'll zero out the rotations here. I'll just come over here to the sidebar and drag select these three fields, press zero and Enter, and that'll take away the rotation there. And then I can rotate this in the y-axis, RY 180. And let's bring this in, scale it down, put it in here, turn it a bit, and I just want it right in here. Something like this. And then I need to bring it in. So what I can do with this is, as we've done before, I can take this point and move the cursor to it with Shift S2. And then I can take this object and snap it to the cursor by pressing Shift S eight. There we go. Now I can just bring this down a bit. Now we have that feel like this could be a little bit thinner, something like that. And then let's get this little piece on the top. This is getting kinda fuzzy, but I do feel like that these kinds of very small details can really make a difference. So let's give this a try. I'm going to hit the I key to inset this and bring that in like that. Then I want something like this. I don't know exactly what that is, but I'm just going to hit E and bring this up. And then I'm going to add an edge right in here and take these faces here and do what I just did with the shrink fat and tool. I'll hit E and enter and then Alt S and bring these out, which is really the same thing as scaling in the x and y and turning the z-axis off with Shift Z. It's just a different way of doing it. And I'll apply the scale for this and select these two edges and just bevel those a bit so we get that rounded feel there. And maybe I'll press Control and plus to select everything here. Oh, we got one more. Yeah. Alright. Let me press Alt and Shift to de-select that. And then I'll bring it down like this. So maybe something like that. We can smooth it and turn on auto smooth and drag that up a bit. And there we go. I wonder if I could put this on the other side. We can't really see the other side. But I would imagine that maybe this thing is also on the other side too. So let's try it. Let's just bring that over here like that. Just add some extra detail to it. Alright, in the next video, Let's continue working on this will create the base of this. Put some screws or bolts up here on the top and maybe see if we can get these details here, the wires and even this piece right here on the side. So that's coming up next. 56. Continuing the Circuit Breaker: Alright, continuing with the circuit breaker here, Let's just throw some screws here on the top. So maybe if we grabbed one of these and I'll change to global here, let's press shift D y and move this over. And then, well, it looks like it's pretty close to being right, the angle that we want it. That's good. Let's scale it up a bit. Maybe bring it up in the z. Let's change back to local, and let's scale it in the z. So it's a little bit thicker like that because they do protrude up some. And then there's this washer here. If we wanted to create that, what we could do is maybe just grab this one edge right here and press shift D z and move it down to here. And that can be the beginning of the washer. And then we press E, z and pull down like that. And there we go. Let's hit the period key and zoom in and grab this edge and press S and scale in. And I think that'll work pretty well. Let's try this. I'll go back to global with the comma key here and then drag in the x to get it back over to about right here, let's say, alright, and then let's go back to local with the comma key. Bring that down. And let's press Shift dx and bring this over here like this. Oh, I brought it out like that. Let's zero out the rotations here, I'll just type in zero. And then that should help us a bit if we turn that now and bring that in the x, Let's do that. There we go. Now we should smooth these. I'll smooth this one and smooth this one. And we're getting a little bit of polygons here. So let's grab the auto smooth and bring that up. And no matter how far we bring it up, it doesn't fix that. And so that says to me that it's something different than smoothing. It says to me that it's possible we've got a flipped polygon here. And how do we, how do we find that out? And we come up here to the viewport, overlays and turn on face orientation. And yeah, you can see here we've got some polygons that are flipped. With this selected I can tab into edit mode, hit the a key to select everything. And if we go up here to Mesh normals, we can see that to re-calculate the normal's outside is shift in. So let's press shift in. And that cleans that up, that turns the polygons. So the outside of the polygon or the front of the polygon is facing out. Now, we need to do that for this one as well. And it looks like these and these and this over here. So we've got quite a few pieces that could stand to have their polygons turned toward the outside. To do that for everything, what we can do is here in object mode, we can just hit the a key and select everything, and then hit the Tab key to go into edit mode for all of those objects. Hit the a key to select everything and then press shift in. And now everything we've selected on all the objects has been turned. So the front of the polygons are facing the outside of the objects. There are of course, parts on the inside that we're still going to have to close off as time goes on, but for now I think that's fine. So let's come back over here and turn off face orientation. And I'll hit the period key and zoom in down here again. Alright, So now that we've flipped those, the smoothing is working. So we can take these two and just let me come over here and let's press shift D and X and duplicate these, but they're moving in their own local axes, so we don't want that. Let me once again switch to global with the comma key. And then let's pull these in the x-axis like this. There we go. Alright, now we want these right in here, these screws on the front here. So I think what we should do, and it looks like it has a plate here underneath them. So we can use these for that. But let's also take this right here, and let's duplicate it and bring it down here for that plate. Once again, cannibalizing wherever we can with the things that we've already created. So I'll switch back to local transformation. Let's press shift D y. And then I'll just bring this straight down here like this. And we could probably, well, it's just scale out like this. And then let's scale in the y as y and bring that in like this. Maybe we put that right about here. Okay, Now that we've got that, let's take one of these and let's move this up here. How about if I use this one, the axes are more in line. So if I press shift D y. And then move it over in the x. We should be able to get it here. Kind of lined up. Let's do this. And then let's press Shift dx and move this over here, our z to spin that a bit so it isn't quite the same as everything else. There we go. Alright, let's see what else we have here. When we've got these pieces down here. I think once again we can cannibalize some things and maybe use this up here. Let's try this. Let's press Shift dx and move this over and let's scale it down quite a bit. Maybe scaled in the z. And let's bring this down here, and I want to use it for this right here. So let's then bring that in here like that. And then maybe we need one of these for that screw right there. Let's try that. I'll press Shift D and bring that up here. And then let's scale it down. Move it in place, and maybe just bring it up a bit like this because it looks like there's something in-between there. Maybe another cylinder, maybe we could put that in there. And then I'm back here there looks like there's a plate or something. It's really hard to tell of course, but it looks like there's something back there. So what I'm gonna do is take this and duplicate it Shift D. And then I'm going to spin it in the z or z zero, and then spin it in the x or x90. Now we've got this piece back here. Scale it in the y. Maybe move it this way. There we go. So we've got something like this back here. And then we want this piece. And that looks to me like kind of a flattened cylinder. So if we took this and move the cursor to it with Shift S2 and created a cylinder. We've got 12 signs, That's probably fine. Let's give that a try. I'll press Shift Z and scale that up a bit. And then let's press S x and kind of flatten it like this. And we could maybe turn it. Let's turn it this way. Scale it down a bit. Move it over here. We'll move it out some. And let's see where we are here. It looks like for this up a little higher. Oh, I've got the whole thing pulled down, So yeah, I should probably take all of these here and just move them up. I'll hit the G key. Because if I grabbed by the y here in local mode, watch what happens. Everything kind of moves in its own direction. So I'm just going to hit the G key and move it straight up like this. Maybe up to about here. Let's say. I'll take this and I'll smooth this and turn on auto smooth and maybe drag it up just a bit. There we go. That's smooths that out some. And then a cylinder in here. How well, okay, we'll just take this one. And let's just select this edge loop and press Shift plus. And then we'll just duplicate and press Z. Move this down, scale it up a bit, and maybe scale in the Z just to here like this. Okay? And then we can hit the L key and move that down like that. Alright, so we've got that. I've kinda want to spin this RZ, something like that. There we go. So it isn't perfect. And we probably need this on the other side too, I bet. So let's take all of these pieces, combine them together with Control J. And let's raise smooth it and drag these up like this. Well, it's a little too much. And do We, did we flip a polygon here? Let's go back to face orientation. No, we didn't flip a polygon, but we do have this kind of crease there and I don't really like that. So not sure how we can get rid of that by smoothing here, because if we take it all the way up, it then collapses or destroys our other smoothing here. So I think what I'll do is just undo this. There we go. And let's try and add all of this, this here. So everything else is taking on the smoothing of this object here. So I selected it last and press Control J. And there we go. Now we've got this here. Maybe I can smooth that, but there you go. Yeah, I think that helps a little bit. There. There we go. So sometimes the object that you choose last when joining things, when joining objects together can make a difference in how the smoothing goes. So once I've done that, now let's take these and mirror it over to the other side. So I'll take this. Maybe I'll move the cursor into the center of this object, will change this to 3D cursor. Now, let's mirror in the x-axis, shift D, Enter, Control M and X, and Enter. There we go. Now we have them on the other side. Now let's add a couple of paths for the wires here and this piece here. So let's grab a point up on top and move the cursor to it, and then press shift a curve path. Let's then take this down to 0.01. So it's pretty small here. And I'll just move it and tab into edit mode. And then we could just maybe start bringing these down here. So let me switch back to median point and start bringing these down. Oh, let's change to local transformation. And in object mode, what I can do is turn this so the z-axis is in line with this object. So if I hit R and turn it a bit, you can see now that z-axis is more in line with the object. So just turned at about 24 degrees here. Now when I grab one of these, that z-axis is in line with the object. And it looks like I wanna go down to about here. And then let's begin pulling some of these out like this. So we're just trying to get this piece right here. Maybe I'll bring this down a bit like this, and maybe this one can then extrude. Let's hit E, z and pull down and maybe bring this up a bit. Then we want to extrude in EX, and I'll bring this in a bit e x again and go in like that. There we go. Alright, now let's give it a little bit of thickness. I'll come down here to the object data properties. We'll click and drag in the depth field. And then I want to take the resolution preview and I'll just take that down to three. I don't think we need a whole lot here. And I'll take this down to three as well. Maybe I can spin it. Let's change back to the 3D cursor with the period key and then press R, z and spin that around like that. There we go. Then down here we want to do the same thing. So let's just grab this point, move the cursor to it, shift a curve path. And for this one, I think I want to move it this way. If we tab into edit mode, maybe I could take all of these and move them out like this. But one more here. Oh, let me switch back to median point with the period key. There we go. And I'll take all of these here and move them up. And we could maybe just begin moving these around and I just want to move it so we can't really see where the end is. That's all. Just trying to be tricky about this. Move that down a bit like this. We could basically just duplicate this and put it over on the other side. Let me once again type in three here. I'll type in three here, and let's click and drag in the depth field. And then I'll just press Shift dx and move this over here. And we'll take some of these and just move them in like this. And maybe like this, just grab this and move this around. Let's see how this works. Yeah, That's kinda nice. Let's get them so they aren't exactly on axis here. Maybe I'll grab this one and bring that up like that. Maybe I'll take this one and move it down. There we go. Alright, the last thing I think we need to do is build this base down here. And we'll also build this stem right there on the bottom of that breaker case. So we'll do that in the next video. 57. Finishing the Circuit Breaker: Well, to get this mounted on some sort of a base, I think is going to require a little bit of organization here because first of all, I've created this, so it's intersecting with the engine cylinder here. So we need to move that out. And to move all of this out or move it around would really be a lot easier if we could select it all in a collection. So let's scroll down here and let's try and figure out if all of this is part of that circuit breaker. It looks like it is. Let's go ahead and add this to a collection here I'll press the M key and create a new collection, call it circuit breaker. And now if we selected everything or actually if we hit everything in here, Let's try this, Let's hide this and okay, so we've got a few more things in here. These are things that I've duplicated off of other objects, I think veteran other collections. So let's just drag select all of these. And oops, I accidentally selected this. Let's de-select that with the Shift key. Is there anything else in here selected? Now? Okay, so let's move this into the circuit breaker collection. Okay? So now we've got that. If we unhide it now, we can right-click on it in the outliner and choose, Select objects. And now we should be able to move this around. I'll press the comma key and go to global. And let's just move this in the x axis out from that engine. And how far out should it be? Well, it looks like it kind of comes right to where that front pieces right here. Yeah. Let's try that. And then I feel like we could go down a bit. But also, I think this piece just isn't big enough on mine yet. So let's try and scale this up a bit. Let's hit the S key and scale it up. And I'll get the common key and go to local transformation and move this up a bit like this. Alright, that's a little bit closer to what we have in the reference image, I think. Yeah, like that. And then since I've done that, I really need to change this. So I'll press Alt Z tab into edit mode, and I'll just drag select these points here. Alt Z again. And I just want to bring these back like this. Let's try that. Maybe we bring it down a bit. Let's select these objects again. And I'm going to hit the G key and move this down into here like this. Since this is a little bit lower than the reference image here, I'm going to make this lower than the reference image as well. So maybe something like that. Alright, let's see if that's about in the right place. I think that's pretty good. And then we could move this cover back a bit. In other words, we could maybe take the back of here, alt click between two faces there and then press Control and plus and move this up and then move dislike this, and then move this whole piece back. And once again, I think we're going to have to do a little organization in the outliner because I don't know if everything is in the right collection here. So let's just hit the period key on the numpad to find what collection that's in, that's in the case cover here. So let's select objects out of that. But look at all the objects that are in there. This and these over here. So we're going to have to do some work to get those in the proper collection first. Okay, so let's take these, I'm going to grab these screws here. There we go. And let's move these into the knuckleheads collection here. So M, engine and knuckleheads. And then these over here should do the same. Right? Like this. There we go. Now let's try that again. Let's try the case cover again. I'll select the objects. That's right, We've got that one over here. Now, where is this? Let's hit the period key over here. Here it is. It's in the transmission. Okay, so we want to take this screw, hit M and move it to the transmission. Okay, now, so you can really see why it's good to keep organized in this kind of project because you can select objects and move them around a lot easier when they're in collections. So let's go to the case cover and right-click and select objects. And let's take a look at that now. If I press Shift Z, are there any other objects that are selected? Doesn't look like it. Okay, so now let's take this and move it back. We need to switch to global to do that. Now let's move that back. About like this. Then I think we're a little bit closer to what we're seeing here now. This is pretty close to the edge of this right here. So I think we're getting closer. Let me take this case cover once again. No, I want the circuit breakers. Let's find that. Here we go. Circuit breakers and I'm going to move these forward just a bit in global. That, alright, so now that we've got that, let's create this base here under the circuit breaker case. So I will press Control a and apply the scale here. And then I want to select this face down here. And I'll hit the I key to inset this in like this. We're getting this right in here. And then I'll hit the Comma key, go to local transformations, and let's hit E and pull down. And then I'm going to hit E again and pull down again and then scale in some like this to get this here. And then let's hit E and pull down. And then this, once again, let's hit E, pull down and S and E and pull down like that. Alright, so now we know where our base needs to go to connect up with this. So I think first of all, I'm just going to create a cube over here underneath. And then we'll extrude over to hook up with this part. So let's grab this piece and maybe I'll just, maybe I'll just take this face here and move the 3D cursor to it just to get close. And let's press Shift a mesh cube. Let's take the cubed down to 0.1. There we go, and I'll scale in scale in the y. Let's turn it. So it's in line with this piece. And move it down underneath here like this. And I'll scale it out in the y, actually a bit like that. Alright, so now are we in a pretty good place here? Yeah, that's not too bad. Let's press S and X and scale out just a bit more. And then I will take this face down here and let's move it down. And now I want to get over here. So let's create an edge with control are writing here. And maybe I'll take this face now and move it toward their like this. And then let's take another edge and move it right in here. And then let's just see if we can extrude this with E and pull it out like this. Alright, and then let's see if we can move this up just a bit like this and connect with that. Alright, How does that look? I kinda feel like I want this to go straight down a little bit more. So I'm gonna take this edge, I'll just add an edge back and bring it straight down like that. And then this one can maybe come up and we can give it a bevel. Maybe let's try it. So maybe right up in here. We could move this over to here. Let's just try that. Let's apply the scale here and then press Control B and bring this out like that. So it kind of curves there. Alright, let's go ahead and smooth it. And turn on auto smooth. And what do we think? I think I need to connect this somehow? It needs to come forward to the back of this piece. So let's see if we can isolate this first, I'll hit the division key and then tab into edit mode. And I'll just in face mode, I'll hit the C key and just circle select all of these, and then the division key again. So when we tab into edit mode, we've got those selected still, and I'll move these forward like this. Let's try this. The only thing I would say as I've kinda like the circuit breaker to come forward a little more. So let's just select this here. Oh, I've got this as part of that. Let me get that out of there. I'll press M and choose scene collection just to move that out for the time being. Because I want to move all of this independent of the base up. Once again, switch back to global. And let's move that forward. Just a bent like this. Yeah, I just wanted something that kind of blends in there so we don't really get a sense that it's a different piece, will put all the same material on that. And I think that'll do pretty well. Now, do we want this whole piece to come back further than it is? So do we want all of this? Come back toward here? So maybe I just drag this back to here. Let's try that. Yeah, I think that's pretty good. Now let's take this and add it back into the circuit breaker collection there. And that kinda gives us a sense that that's kinda all one piece. Yeah, there we go. Now we've got our breaker case and various pieces that go along with that. I think those small details are going to help. 58. Continuing the Exhaust Pipes: In working on this piece, that circuit breaker case, I see that there's an exhaust pipe coming down here. Let me look at the other side here. You can see it coming out of the engine here down and it goes around and connects up. I'll press Shift C, connects up with the exhaust pipes that we've already created down here. So if we take a look at it here, let me press Control and Spacebar again. And you can see it coming out of the engine here. And then it comes down underneath, bends a bit out when it comes down here to connect here. And there's this piece, so I'm not quite sure if it's all one piece. I think it may be, but it comes down here and then it has a bend out and then connects with this part of the exhaust, the muffler, I think in the back. So let's work on this. Let's press Control Spacebar again to go back and we can kind of see it in here. Although it's really hard to see with all the black tubes and engine parts and things like that. But let's give this a try. I think I'd like to press Shift a and create a curve, a path here. And then I'm going to tab into edit mode and hit the S key and scale down a bit. Then let's turn it in the y-axis RY 90. And if I come over here, I'm in the left orthographic view currently, and I'm going to come in here and just put this right here. Maybe turn it just a bit and begin like this. I'm going to just grab these points and move them into place where I think that exhaust pipe is it's difficult to see, but if we begin at right here, yeah, I think that's pretty good. 59. Connecting the Exhaust Pipes: Alright, let's work on this piece right here to connect them all up together, all the exhaust pipes. Before I do that though, I feel like if I go to the bottom here with control numpad seven, kinda need to take maybe some of these and just move these back a bit. So we're not intersecting with that pole there. Let me just adjust that just a little bit. Let's see how that works. Yeah, I think that's a little bit better. And then I feel like this may be a little bit too big still. Let's take a look. Yeah, let's bring this down just a little bit like this. Just wanted to be more in line with the other pieces here. Yeah, I think that's pretty good. So to get this piece here, Let's take these pieces of the exhaust and let's isolate them with the division key on the numpad. And then let's take this point right here. And I'm going to create a circle at this point. I'm going to press Shift us to move the cursor there. And then I'm going to use that circle to then duplicate it, bring it down here, and get that shape here, and then also duplicate that and extend it out to get the oval shape around the edge. So let's press Shift a mesh circle. And I'll give this say 24 signs. And let's take it down to 0.01. Let's try that. And that's pretty small. But we can do is scale that out. And once we get it to this point, Let's hit the R key and bring that up like this. Let's try and get that aligned to this pretty well. Something like this. I better change from global to local and then move it up just a bit like this. And maybe let's scale it in a hair. There we go. So it fits pretty well around that. And then from here what we can do is just duplicate this. I'll press Shift D, and I'm going to drag it in the z-axis down to here, turn it like this, and maybe move it. Let's move it back. So it sits more on here. And then we need to stretch it and bend it around this particular pipe here. So I'll go into edit mode and I'm going to extend this out just a little bit more. And then what I'm gonna do is just take maybe two points here. And I want to bring them down using the proportional editing tool. So I'll turn this on and I'll ensure that connected only is on. And then what I'm gonna do is hit GZ and scroll the mouse wheel until I can see that range of influence here and then begin pulling down and scrolling out just a bit. So it kinda bins around that pipe. Here we go. So I'm gonna move it back. I'll hit the 0 key to turn off the proportional editing tool for a moment and then scale it in just a bit. Something like this. Maybe I'll tilt it, bring it up. So I'm just trying to fit it around here. So we get this piece right here, that little edge right there. Maybe I'll scale it in the X to kinda bring this in. Maybe too much. It's bring it back out a little like this. Alright? And then you can always go in individually and tweak a vertex here or there. Okay? Now what I wanna do is combine these two, this and this with Control J. And then I want to bridge edge loops. So I'll select that edge, Alt, Shift, click that edge, and then let's press Control E and bridge edge loops right here and see how we do. Okay, so we've got that, That's pretty good right? Now we need to take this here, duplicate it, and do that again for the outer rim. So let's press shift D and maybe I'll go back to global for this. Let's try this. I'm going to press the S key and scale out a bit. Press S and scale out like this. Alright, and then once again, I feel like I need to grab these points like this and bring these down again with the proportional editing tool. And once again, I'll turn this on. And now that we're doing this as all part of a larger object, we need to ensure that connected only is on so that we don't pull around these other points. So I'm going to press G and Z and bring these down, something like this. See how that works, okay? And then now we just need to do some tweaking here. So I'm going to press. Our z and turn it in the z-axis a bit. Then I'm going to move it around and try and just fit it to this a little bit better. We may need to do some individual point pulling and that's fine. We can do that. I'm just going to try and get it as close as I can before I start pulling it around individually, point-by-point. And I'll switch back to global. Bring it down a bit to actually that's not too bad, even without pulling points. So I guess now I'm gonna have to write, I'm going to have to pull these out a bit. Just a little bit. Isn't too bad actually. Ok. Now we can take this and this, and we can bridge these edge loops, control E bridge edge loops. And there we go. Now we do need to do some point pulling here to kind of extend this out. So another tool we can use for this is our snap tool here we can turn on snap. And now if we pull this menu down and we can snap to say the faces or the volume. We may need to do a test or two to see which would be better. But let's try volume here. And then let's move this out a bit. And that's not doing it. Let's try face. So I'll hit G and move that out and that's working a little bit better, I think. Yeah. So if we move that out a bit, we can begin to kinda slide these out and get a better shape to this. So maybe I want to bring these out as well. And I'm not so concerned about back here simply because we're never going to see this back here, but I can just move these around a bit. Now let's turn off our snap tool and we can begin pulling these out from the mesh just a little bit. All right, We're getting there and then I'd like to take this edge and hit the G key two times and kinda slide that up just a little bit. And now we have that basic shapes. So we could then take this edge and hit E S and close this off. We can take this edge here and hit E S and close this off a bit, although we need to probably bring this down like this. And then scale in the x like this to close that off. There we go. And then I think I'd like to smooth it and maybe grab these edges and move them up. So there's gonna be some tweaking here that we're going to have to do periodically. And that's okay. And then let's give this a subdivision surface modifier here, right up here. And I'll turn on the cage. And let's begin adding some edge loops in here, like in here, let's say one down here, one in here. And maybe even here. Let's add one out here. One up on top. There we go. Yes, So we're getting that shape now. I'm going to bring some of these up in here. Once again, we're just going to have to begin moving a few things in and out. We could also maybe take these edges here, it G2 times and slide these in. So we get a little bit sharper edge. Here we go. Yeah, that's kinda nice. Then as we begin to finalize, everything will go through and convert these two polygons, maybe add a subdivision surface modifier to them. And some of this blocking, this that we're seeing here may be cleaned up. So right here, let's go ahead and take this and just bring this into here. Yeah, there we go. And as I said, a lot of these connections can be cleaned up and tightened up once we convert those two polygons. Alright, I'll hit the division key, and here we go. We've got our exhaust pipes connected up. 60. Beginning the Rocker Clutch Pedal: Well, we've added a good bit of detail here on this side, I think let's go around here and see if we can fill this space a little here. And in that space is this rocker clutch pedal. I've got an individual image of it here. And you can kinda see how it's placed on the bike there. And there's also this cylinder behind it. So let's work on these pieces and see if we can fill this space a little bit. I'm gonna hit the three key and Shift Z. And let's take a look at it here. And you can see there's that petal right there. There's this piece, that kind of pie shaped piece here. And then I think this is the cylinder behind it back here. Let's first of all create this curved pie shape right here. What I'll do is I'll press Shift us wanted to move the cursor to the center of the grid and then I'll press Shift and right-click and move that into about right here where I think the center of that piece would be. And then let's press Shift a mesh cylinder. Well, let's see how many sides do we think we need? I'm gonna go ahead and leave it at 32. I'm going to change the cat fill to triangle fan. And I'll take these down to 0.1 and 0.2 just to shrink it down a bit. Alright, let's turn it in the y-axis, our y90. And let's go back to wireframe was Shift Z. And let's scale this down to about where we think it should be, maybe right about here, let's say, and then let's deal with how thick this should be. It looks to me like it's coming out close to the edge of the chain guard here. So let's bring it in maybe about this thick and then bring it back out to about here. Let's try that. And then I want to make this piece out here. I could select these faces here before I do that actually in change the shape of it at all. Let's get this little cylinder piece in the center. Let me press Control a and apply the scale. Then I will hit the C key and use the circle select tool to select these faces here. And then let's inset these. Let's just hit the I key and bring these in. And maybe right about here. Alright, and it looks like there's a little edge there. So maybe if we took this edge right here and just hit Control B and beveled that just a little bit, just a very tiny bit. We've only got one segment here. So now let's just extrude and push back like that in the x-axis. Okay, so we've got that there. Now what Let's do is work on this part. And I think for this part, let's go back to that side view and let me go to face mode. And it looks like maybe we could just select these faces. You can see it right about here. Maybe these faces here and extrude these this way. So I've chosen eight faces on the side there. So what I'm gonna do now is just hit the E key and extrude toward that smaller part there. And then let's just hit the S key and scale those in. There we go. So it looks kind of like that. Let's try that. Yeah. Okay. Oh, you know what I did though? I didn't constrain or turn off the x-axis. Let's do that again. Let me press control Z and let's go back to here. And then when I scale in, I need to turn off the x axis, right? So let's press Shift X and then scaling like this. Oh, I better press Shift Z so we can see it. So we doing here. Yeah, something like that. Let's try that. Now that we've done that, we could take these edges right here, this and this. And we can scale these out. Now, how do we scale them out in this angle right here, right here between these, well, what we can do is change from global to normal, and that gives us an axis going directly between those two. So let's press S, Y and pull those out until they even up with the rest of the object there. Let's see how that works. Yeah, that's not bad. I think we need to go out a little bit more though. Let me just press S and Y and bring that out a little bit more. Alright, let's try that. Yeah, So I think we've got a nice shape there for that. Now let's think about this piece. This is a little more complex, but I think ultimately it's really just a cylinder here. And then we're going to select points or edges along the bottom of the cylinder and extrude out, and then extrude down in the z-axis. And I may do this on the axis. In other words, I may do this so that this piece is straight along the y-axis here. Then. Once we're all done, then we can rotate it down to get this angle here. So let's first of all create that cylinder or excuse me, actually, I think I'm going to use a circle. Let's do that. So let's select this point here and press Shift S to, to move the cursor. And then let's create a circle. Here. I'll go ahead and keep it at 32 vertices. I think that's pretty good. I'll bring this down to 0.1 so we can see it here. And I'll also change the fill type two triangle fan. Now let's turn it in the y-axis RY non-zero. Let's scale it down some. So it's just inside that circle and I'm going to pull it out just a bit like this. We go because we're going to be adding some thickness to it so that thickness will extend back to this object here. And now before we begin extruding this out, Let's get this centerpiece here. We might as well. Before we do anything else, I'm going to press Control a and apply the scale so that if I select all of these faces here, I can hit the I key and inset in and I'm going to inset twice, just so I don't pull it real far and maybe inset like this. And then I want to get this little ridge here. So how do we do that? Well, let's just hit E and pull out. And then I'll scale in a bit. And then if the I key and pull in some, and then once again E and push in, scale in a bit. And then I'll press, I go in like this. And maybe just one little thing in here. Let's, let's do that. Let's go ahead and hit E and I and then pull out. And I'll scale in some like this. We just have something in there, in that center there. Well, I feel like I need to take this row of faces and just scale them in a bit like this. And I'll even put an edge there, pull it out a bit. There we go. It's probably way too much detail than we need there, but I'll go ahead and do that. I don't know that I'm going to deal with this little notch here. If we do, we can use a Boolean, but I don't think I'm going to worry about that right now. So what we need to do now is select some edges to extrude out, to extrude down. And really I think we kind of need from here to here. So let me just select these all the way around. I'm just holding the Control key to connect the selection there. And then from here, I think I'll just extrude these edges, right? We just need to hit E X and pull these out just a bit. You can see that here. And then what we can do is just do that again. But this time pull it down a little bit and maybe scale it out in the Y, S, Y, like this. So we're just getting this here. And then we can do that again. Let's do that again here because it looks like it comes out quite a bit here. Ex, bring it out, pull it down. And we could probably begin right here, scaling it out quite a bit by pressing S Y and kind of bring it out like that. Alright, I think we've got a good beginning here. In the next video, we'll continue on extruding this and pulling this out to create this shape. 61. Finishing the Rocker Clutch Pedal: Continuing with the rocker clutch pedal here, let's select this edge once again. And I think this time I'm going to go straight down. I'm going to hit E and Z and pull straight down and then hit S, Y and pull out some like this. And then let's do that one more time. I'll hit E and Z and pull down. And then let's scale out and the y SY. So now I think we're down to, well, let's see, Let's go back to the side view and press Shift Z. And let's see if we're getting close to that size there. It looks like we could use one more extrusion now, doesn't it? So let's try that. I'll bring this up again. And then let's do one more extrusion. Easy, pulled down just a bit, and then S Y. And bring this out like this. We're going to extrude out from this bottom edge down here for this part. And we're going to extrude out from this, appear on the top part. So let's begin with this. Let's select these faces here. And what I'm gonna do is just turn them off, flatten them in the z, S, z zero like this. And then I'm just going to bring these down like this. Maybe something like this. Oh, it looks like we probably need to pull this out more. Yeah, let's do that. Let's take all of this and just bring them out more like this. Okay? So I've got this part here. And to get that curve right there, I'm just going to bring this around. Just kinda begin pulling some points around until I get it the way I want it. These two could be extruded down for this curve here. Let's do that. Let's hit E and pulled down in the z-axis. And then let's just hit the S key and kinda bring those in. We could even take this one point here and bring that down just to begin to get that curve. And I'm planning on putting a subdivision surface modifier on this to give it more clean curves. And then I think this right here could maybe be this right here. Let's see, Let's just hit E and pull this out. And then I'm gonna bring it over here, scale it in. And we could just kind of arrange these points until we get something that we want there. Maybe something like that. Then this out here, let's hit G and pull that out. So we're getting this right here. That's got that nice curve there. We may want to take all of these and just pull them down a bit like that so that we can maybe have a nicer curve here. Maybe take all of these and pull them down a bit. Something like that. And as I said, sometimes you just got to grab some points and pull them around. I think what we should do now is extrude these pieces out. So I've got, I've got this piece and I've got this here. So what I wanna do is extrude these out in the same direction, in the same amount. So I'm going to hit E x and just pull them both out at the same time like this, maybe something like that. And we go. And then I want to take this face here and these faces here. And let's hit the I key and inset these in a similar amount. Maybe like this. And then let's delete these. I'll hit the Delete key and delete faces. There we go. And these seem a little bit too wide. Let me just scale these in a bit. More like that. I think I'll grab these and these edges here and just hit S, Y and move these in a bit. And then while we have this still as just a plain is just a two-dimensional object. Let's go ahead and smooth it. Let's turn on auto smooth down here. And let's add a subdivision surface modifier and see what we get. Well, if we go back down to auto smooth, we could turn that off actually and get a little bit more curve in there. Actually, I can drag this up. Well, that's not bad if I use this. I'm not a fan of what's going on here. And I realize now I extrude this out and forward from the same point here, and that might not have been a good idea. Let's see what we can do with it. But this right here may cause us some problems. Let's insert some edge loops here to make these a little more rectangular. So I'll press Control R and let's put two in here. Two in here. In here. Alright, and then I can do the same thing over here. Let's, I've already got two here. So let's do two over on this side and two over on this side. And that kinda helps. Alright, now we could maybe take, let's take this point and move it up a bit for this. And then I'm going to take this face here and hit the I key. And kind of scale that in just a bit. And then hit Delete and delete faces. And now we can kinda just grab these points and move them around for the hole there. Let's now add a bit of thickness to it and see what we get. So let's come down here. I'm going to twirl this up and let's just add a solidify right here. Alright, let's choose even thickness. Oh, I'm also going to apply the scale Control a and apply the scale. And then let's click and drag this down. This point right here is causing us some problems. So I may have to redo that or figure out a new way to do that because when we get it, the proper width all the way around and that doesn't look too bad. We've still got a problem right here. And if we tab into edit mode, It's this point right here. So what I'm gonna do is take away the solidify. And I need to think about this. What I could do, I think is maybe rip this. So if we take this point here and we go up to vertex, we've got rip vertices, and I'll go ahead and choose that. And then if I then just grab one of those points, you can see it is split out now. And I'm gonna do this again. I'm gonna hit V and move it one more time. We go. And just wanted to split that up some. And I'll take these two and merge them back together at the center. What I'd like to do is just put 0. I've got these that came out. Let me hit the M key and merge those back together. Maybe I could just add a triangle to this. Let's try this. I'm going to select these two edges and hit the F key. And then let's see if this does any better. It may not because we've still got a single point there, but let's try it. Let's come down here, add a solidify and then even thickness and click and drag and bring this down. And yeah, that really does clean that up quite a bit. And let's just try and bevel this. I don't think we're gonna be able to get too much of a bevel on this because of this area in here. So let's just press Control B and bring that in. And you can see how it kind of crosses there. And that may not be enough for me. I may not be able to do that. So I wonder if we could add a subdivision surface modifier instead. Let's try that. And what I'll do is just tab into edit mode. And let's see if we can add a few edges here and press S and scale out. There we go. And we should probably add an edge in here. Let's try that right here. And then up in here to kinda clean this space up, maybe we could add an edge right in here. Kind of bring that up like that. Yeah, that helps kinda give that more of a rounded edge there. Alright, I think that looks pretty good. Let's now take this. Go to the side view, press Shift Z, and let's just hit the R key and kinda turn it. See. Let's then just select these here with the circle select tool. And then I'll press Control I to invert the selection. And then let's scale it from here. Let's hit the S key and scale out like this, and then bring this down just a hair. Alright, so I think we've got the basics of the rocker clutch pedal. There's of course more that we can do with this here and that little slot up there, et cetera. But I think for now let's move on to another part of the bike. 62. Beginning the Engine Guards: Alright, the next thing I'd like to work on is this engine guard here, this tubing coming out on either side and curling down and attached to the frame there. It is, of course, something you can put your feet on, but it seems to actually be called an engine guard. So let's work on this. This particular picture doesn't seem to have one on it, like it's been removed, but this one over here, this does. So we'll be using some of this. We'll be using maybe the front image, but we can't trust this too much because it's got a lot of perspective on it. So anything beyond the front tire is going to be smaller or narrower than it actually is here. But let's give this a try. I think I'll begin over here. On this side. If we press Control three and Shift Z, we can come in here and see there's this cylinder right here. So I think first of all, I'm going to add a cylinder up here. So maybe let's see where I can plant a cursor. How about well, I'll just create it in the center of the grid so I know it's there in the center. I'll press Shift a mesh cylinder. And for this, let's, I'm gonna give it 24 and I'll type 0.1 and 0.2 just to shrink it down a bit. And I'll go ahead and use a triangle fan here. And so I'll turn it RY 90. Let's scale it down and let's put it in place. I'll press Control three and Shift Z. And let's hit the G key and just move this right up here. I'll hit the S key and scale that down. And it needs to sit in front of the frame here. So maybe something like this. Let's try that. And if I tumble around, then I can scale it out in the x. And maybe it just like that, I think it stays. Well, it's hard to tell. It maybe will come out to the edge of the frame. So let's bring that out as x and maybe bring it out right about here. Alright? And then I will take this point right here. And let's move the cursor to it with Shift S2. And then I'm going to create a path because I want to use a path to create this tubing here. So let's press shift a curve and a path, and let's shrink it down. I'll just hit the S key and bring it out here in the x and hit the period key on the numpad to zoom in. And let's just move this so it's kinda right there coming out of that cylinder. And then let's go to the front view with the one key. And as I said, this is gonna be off simply because of all the perspective that is in this image. This is a wide angle lens off an iPhone. So we tab into edit mode, we can kinda get a sense that this is how far above. So maybe that's how far below it should be. But for these, let's just begin pulling these down. I'll just grab this and pull it down and move it. Maybe let's bring it back up like this. So we get these kind of close in like this. And then let's take these and move it in. So I'm just trying to match up the curvature of this, if not the actual size and placement of it. So maybe something like this. Let's see. Yeah, let's try that and then I'll hit Easy and pull down here. Then let's begin going back in toward the bike. So let's hit E and pull in just a bit 0s and just give us this kind of curve through here. And I'll bring that into about right here. We don't really know exactly where that's going to be quite yet. But if we tumble around, we've got the beginnings of this shape here. Now, what I wanna do is curved this and it looks like it goes pretty much up and down. And then it kinda curves down and back to the frame. So let's just take this and pull it back. Get it pretty close to the frame. Let's see what does it do at the end? Let me see if I can see here. Let's press Control and Spacebar and zoom in. Alright, so it looks like what it does is it collapses down like in the z-axis and then maybe extrude forward and then extrude down to get this part here. So there's kind of a flat piece. And then I believe this cylinder is attached to the frame. And then there's a cylinder going this way as well. And maybe a bolt here that might be suitable. It's hard to tell what it actually is. So maybe a bolt would be good. We've got a few bolts up here as well, so maybe that'll be good. I'll press Control Spacebar. And so let's see how this is looking. I'll just select this and move it back just a bit. Yeah, So if we tap into object mode, we can see what we're getting here. How's that look so far? I think it looks okay, but let's add the cylinder to it or the Tubing to it. Just make sure Let's come over here to the object data properties. And I'll take the resolution down to four here. And then let's go down and I've got the resolution at four here. Let's press Shift and click and drag in this field to pull this out a bit to see if we can get it about the right size. So let's see. I think for the tubing it's not bad. At least the size isn't bad. The radius, but I don't like how it's so straight up and down. Let's take a look and see. Let's press Shift Z and we're getting there. Okay, I think I need to come down quite a bit more here now, don't I? So let's tab into edit mode. And I'll bring this down here. And let's take all of these right in here, and let's bring these down like this. And maybe we need to bring this out in the x-axis. Control three. Here we go. And maybe I'll hit G and move this forward. So you can see, I've got the image here, is if I curve it up, it may be hard to see from where you are, but hopefully on yours you can see where that image is. And maybe if I take this and move it down a bit. And let's just see. Maybe I'll move this down a bit as well. Alright, let's take a look at this now. What do we have? Alright, we're getting closer to that curve down there. That's good. I feel like this now can come back a little bit. And I believe this curve is a little bit more curvy. So I'll bring this bag like that. Let's see if I can bring these out at all. And then let's also bring this up in the depth field so it's a little bit thicker like that. How's that look? Yeah, I think we're getting there. Let's take a look at it. Mirrored on the other side and see if that helps us get a sense of whether or not we're doing this or at least on the right track here. So what I'll do is I'll take this and move the origin to the center of the grid. I'll move the cursor first with shift S1, and then let's go up to objects set origin and origin to 3D cursor. Now we can come over to the modifiers panel and add a mirror modifier. And there we go. So how does that look? How's that looking? That's not bad. I feel like these maybe need to come out just a bit like that. And then maybe these go in just a bit. So it's a little bit more curved there. Let me take this one and move it in. And let me take this and scale it down in the y and the z, but not the x. So I'll press Shift X and bring that down a bit like that. Maybe we could smooth it. Add auto smooth there just for now. See how that's going to do. Yeah, I think we're getting there. Alright, so in the next video, but let's do is let's attach it to the frame. Let's create some of these attaching pieces. The bend here, the cylinders here and here. And maybe it looks like this piece has got something underneath it going on where it attaches. Let me select this and hit the period key where it attaches to the frame. So I'll see if I can find any other images that gives us some clue as to what's happening there. But yeah, I think we are getting there. So we'll keep at this in the next video. 63. Finishing the Engine Guards: Well, I found another image on the Internet of one of these engine guard tubing here from 1936, Harley Davidson. And as I thought it's got these kind of flat pieces that turn down. But it also has this piece up here coming off of that cylinder is this. So maybe I should try and make that. So it kinda connects to the frame. It's really hard to see here. I think that's what this is here. But let's at least create something like that just to have some detail in here. So what I think I'll do is maybe tab into edit mode. And I feel like I should split this in half and mirror it. Let's do that. So I'll just press Control R and then hit the Enter key twice to ensure it's in the center. And then maybe let's just drag select this side and hit Delete and delete faces. And then we can just add a mirror modifier here. Oh, and it looks like we're going to have to apply the rotation because it's mirroring in the x-axis, but it isn't doing anything here. So let's apply the rotation and control a and rotation. And there we go. And then we can turn on clipping. And let's see what's happening with our auto smooth here. Yeah, we can clean that up a bit. There we go. Alright, so now that we have this, let me go back and turn on the cage so we can see it on the other side. Let's just add an edge loop in here somewhere and then pull this piece off down here. So maybe, I don't know, maybe something like this or even this that we can pull down and then extrude out to get this plate. So let's try that. Let's just hit E and pull down. Let's change from global to normal orientation and then continue to pull that out like this. And then let's add an edge loop here somewhere and take this face and let's extrude this out. So E, and let's just pull that out like that. So something like this. Let me go back to global and I'll pull that back in. Let's go with that for now. I think maybe I will press Control plus, and then I'll press Shift and deselect these. And then maybe let's turn these. I'm going to press Control three. And I'll just hit the R key and turn them a bit and then bring them back so they are flush with this piece here. Let me go back. Let me apply the scale. Control a, apply the scale and then let's just bevel these here, control V and pull these out, something like that. Alright, so we have that. Now we could just add a few bolts in here on either side. It looks like just a cylinder and a couple of bolts would probably do it. But let's see, Let's now come down and work on this down here. What do we need down here? Well, we could first of all put a cylinder. Because if we grab this, let me bring this over. I believe these cylinders here on the chassis is this cylinder right here. So what I need to do is just select maybe a point here and shift us to. And then I'm going to create a cylinder here. Maybe I'll take this down to 16. And I do not want any cat fills so that we can turn this now RY 90 and scale this down. So it's about the right size here that we're seeing in that other image here like this. And I'll scale it in the x just a bit. And let's bring this forward, maybe like this. And now we need to bring these. So they're in line with this, I think like that. And I'll bring them out like this. So these now have to go up to here and then straight down. Let's try this. So if I bring this up, I'll hit the one key. I'm going to just hit G and bring this up. Right. Now this should be where we need to be to then bring this over. And to do this, I'm going to have to convert this to polygons, right? We can't do that kind of shape with a path. So first of all, I'll remove the mirror here. And then let's go ahead and convert this to polygons. Now what's it going to look like if I press? Shift Z, this is what it's going to look like once we convert it to polygons. So I've got it at 4.4. Is that too much? I mean, that's quite a bit up here. Let's take this down to three and see what we think. And let's take this up here, down to three. Is that going to give us enough of a smooth curve? Well, it's kind of clunky here. It's kind of choppy. But here's an idea. We may be able to then add a subdivision surface modifier to it after we convert it and do our little turn thing right here. So that's something to consider and that would considerably smooth that out. I'll go ahead and convert this here. I'll right-click choose, convert to, and convert to a mesh. And then if we tab into edit mode now we can see that here. Alright, so if we take this edge right here, and let's scale it in the x Sx, and let's do that. Let's scale it like this. Alright, so now we've got this. Now let's extrude it in the x. Actually, I may want to turn it just a bit, little bit like this. Now let's extrude it EX and bring it out like that. And then let's hit R and turn it again. And now we should be able to bring this straight down. So let's hit Easy, bring this down and then scaling the z, z zero. And that flattens it there. Alright, let's see what we have here. Yeah, that's kind of what we're looking for and I think we're gonna be able to make it a little bit smoother if we do add a subdivision to it. Now, down here, how do we close this off? How many edges do we have? If we come down here, we can see we've got edges ten. So if we use six of them to connect here, Let's do that. Let's take these six and let's bridge edge loops control E bridge edge loops. There we go. And then let's add an edge right in here. All right, We can pull this down a bit and then we can select these edges here, alt click, and hit the F key to fill that hole. And we have a quad there. So Alt, click that, and F, and there we go. Alright, so now we've got that. Let's take this and give it a bit of thickness. I'll press Control a and apply the scale. Let's come over here at a solidify modifier. Choose even thickness. And let's bring this in about like that. And then let's apply that. Now let's smooth it. Turn on auto smooth. There we go. And we could also maybe add a bolt in there. So what if we here, Let's take this right here and bring the cursor to that point. Let's grab this bolt over here, duplicate it, shift D, y, and let's bring it over here. Maybe let's clear the rotation here. Drag select all these type in zeros. So we've cleared the rotation there. I'll turn it in the y now, our y non-zero, It's going the wrong direction. So let's hit the negative key. There we go. Then what Let's do is take this object and snap it to the cursor, the center of that object there. So I'll press Shift S and eight selection to cursor. There we go. Now let's take and pull it out. There. We have it right in there. Then we need a cylinder going over and we need all of this on the other side. First of all, let's add a subdivision surface modifier and see how this looks. Yeah, actually that's not too bad. Feel like it collapses a little bit in here. We could maybe add an edge in there so it won't collapse. And we could add an edge down in here, so it won't collapse here. And maybe one up here too. There we go. Alright, that's looking a little better. Now we could take all of this and mirror it over, but we can't combine these because this has a modifier in these do not. So why don't we just join these two Control J. And then let's mirror these two over. Or I should say one because now it's one object. Let's press Shift S one. Let's change to the 3D cursor, period, 3D cursor. And then let's duplicate and mirror and the x-axis. So Shift Enter Control M and X and press the Enter key. Now we've got that over there. Then let's take this and let's switch back to median point here. And when we do, we can see that the origin of this object is in the center of the grid. So that's good. We can go ahead and use our mirror modifier for this year. Alright, that did that. Now let's take these two objects here and here. Those two cylinders, move the cursor to the center here, shift us to, then let's create a cylinder right in here. Shift day mesh cylinder, 16 sides. Good. How about how about a triangle fan here? And let's do that. And then I'll scale it down, turn it into y ry90, and then let's scale it out in the x Sx, and let's bring this out. So maybe it's right around in here. Let's say let's bring that out and I don't think I want it quite that thick. So let's scale it in the z and the y and turn off the x axis. So I'll press Shift X and then bring that in, some like that. Alright, and then we'll smooth it. Turn on auto smooth. And there we go. Now lastly, I feel like I need something up here. Let's grab this. And I will go into edit mode. And let's just hit the L key for these two. Press shift D, z, and then we'll press the P key to separate that out as its own object. So if we go back to object mode, we can select that, move the origin to the geometry. And then let's move it up here and into here. And let's just see if we can get this in here. Let's turn it into z or z90. And I'll hit the three key. Oh, I'm sorry, control three. There we go. The G key, I'll press S and Y and scale that out a bit because it looks a little bit bigger there. And I'll turn it move it in. I'm just trying to get something in there. I'm not really sure what it is or where it should go, but I'm just trying to get something in there for now. Yeah, I think that'll work. Now let's take this. We've still got the cursor in the center of the grid here. Let's take this change to 3D cursor with the period key. And to mirror this over, let's just once again press Shift D and Enter Control M and the X key and enter, and there we go. So now we have it over on this side as well. Alright, so there's probably gonna be more connecting pieces that we want to put in here, probably, maybe some sort of tubing around the chassis. It looks like there's something here and maybe down in here, so we'll probably want to do that. But at least that gets those on there so they feel connected. And just get some detail in there to begin to fill the space. 64. Beginning the Gear Shift: Now I'd like to spin around on the other side here and work on this gear shift over here. If we hit the three key and Shift Z to go to wireframe, we can see it here. Here it is. And I've got a couple of images of the gear shift that I think will be helpful. And to me, the toughest part of this is this curved piece with the arcs on the top where the screws are that's conforming to the shape of the gas tank. And I think that could be probably the hardest part of this. This part out here looks like it's just an extrusion out, so I don't think that'll be a problem. But this here I think we need to think about and we should be able to use blenders, shrink wrap modifier to create a polygon plane and then shrink wrap it or conform and snap it to that gas tank. And then we should be able to extrude and create the shape that we need. So let's see what we can do about that. I will tab into edit mode and I'll just select this face right here. Let me press the T key to open this up. I do have my Move Gizmo selected, but I'm not seeing it here. So it looks like we're actually set on 3D cursor. So I'll change that to median point. Here we go. Then I'm going to press Shift S to and move the cursor to there. Now we'll just create a polygon plane here. Let's take it down quite a bit, maybe 0.1, and then I'll turn it in the y-axis, RY 90. And I'll scale it down a bit. And let's go back to the side view with three key on the numpad and I'll press Shift Z and let's get this in place. So maybe I want to scale it down a bit, hit the R key and turn it a bit. Maybe I just want to get it right in here, let's say. And then what we can do is now shrink wrap this to the gas tank. So I'll select this. Let's go to our modifiers panel and we'll click Add Modifier and choose shrink wrap over here. Now we just need to choose the target or the gas tank. So I'll click on the eyedropper and then click on the gas tank. And now that polygon has been shrink wrapped or snapped to the gas tank. And now if we hit the tab key and I will turn on the cage here, we can select points here and move them around and they will stay snapped to this shape. So let's go back to the side view, and now we can just use these points to begin getting this shape here. So let's just begin maybe down here. And I think maybe I'll begin right about here. And I'm going to try and maybe put four segments here where the curves are. Let's try this. That may be too many points. Yeah, I think maybe three should do it. So let's do that. I'll just hit E and I'm going to move these out. And I just don't want a whole bunch of points because it'll be harder to get this curve, a smooth curve if we have a whole bunch of points in here. So I'm going to maybe go with three for these here and then I'll keep hitting E and move these on around like this. And then I'll hit E. And let's do the same here. You can see as we're moving them along the curve, they kind of struggled to keep up there. And then one more here. Grab these and move these back. Alright, so now we could take these and extrude these up. I'll hit the E key and pull them up like this. And then E and pull them up a little bit more. And then we can begin taking these and moving these around to get that curved shape. So I think I want something like this here. And if we press Shift Z, you can see what's happening. We're creating that shape, but it's staying snapped to the gas tank. So now let's take these over here. I'll grab these points here, and let's hit E, pull these up and E, and pull these up. Now we're going to have trouble seeing where this curve is, but we're just going to have to wing it. And as I said, you can see how it's kind of fighting against me as I'm moving these points around. Mainly because we're in an orthographic view. If I spun around over here like this, they'd be a little bit easier to move around, but it's still hard to tell where they should be without being in the orthographic view and seeing the reference image. But let's go back to three on the numpad. And let's see if we can get these in place a little bit better. There we go. So let's take a look and see if this is about what we want. Yeah, that's getting there. I feel like these are a little bit too high up. Maybe I'll pull them down a bit. Like this. The points down here aren't real great in terms of a nice clean curve here. So we could maybe adjust these a bit. Alright, and we can pull this off of the gas tank if we want over here with the offset, I'll just hold the Shift key click and drag in here to just move that up off of the geometry of the tank there. And then maybe we could try and move these down a little bit more like this. So think that maybe helps a bit. Let's smooth it. Yeah, I think we're doing pretty good there. So what we can do now is we could actually apply this shrink wrap. So it stays there but isn't snapped to the gas tank. Because we're going to need to select this edge here and extrude it out, right, for this part here. So let's go ahead and apply the shrink wrap. I'll come down here and click Apply. And now we have this geometry that we can extrude out. So let's try that. Let's hit B and X, and let's just pull this out and see what we can do here. So if we pull it out like this, the one thing you can see is that it's got this curve that's opposite the curve of the gas tank. We should really begin to take these and move them out a bit and move these in some to begin to get that curve that goes in the opposite direction. Alright, so there we go. We've got a curve like that now, I think it also extends beyond the curve here at the end. So maybe we should take this and extrude this out. Let me do that. I'll hit E and pull that out like this. Then let's apply a solidify modifier to give it some thickness. Let's try that. Let's come down here, go to solidify, turn on even thickness. I'm going to apply the scale Control a and apply the scale here. And then I'll bring the thickness down a bit like this. And also I'll come down to the object data properties and turn on auto smooth and that'll clean up those sides just to pet. There we go. So maybe if we took this whole thing and move it out a bit from the gas tank. Yeah, there we go. Now, we may need to do a little polling to get things in line here. So maybe we can move that in. Maybe we could move this. And so there may just be some tweaking you need to do. In addition to that solidify modifier, I think I'd also like to try a subdivision surface. So let's come over here and add a subdivision surface modifier. And I'll twirl this down. And that's not bad, but maybe let's put this solidify underneath. There. There we go. Now, that's a little cleaner. And the solidify can maybe come down in thickness as well. Just a bit. Then we can go back to auto smooth, click and drag down here. Maybe clean that up a bit. All right. There we go. Just clean that up. And then let's maybe add a couple of edge loops to tighten that edge there. So I'll turn on the cage for the subdivision surface modifier. And then let's press Control R and bring this in here and Control R and bring that in there. The next thing I think we should try is creating that hole, that slot. So let's try that. I'm going to come in here and let's add one more edge loop in here, like this. And I like how that pushes that corner out because it looks to me that's the way it is here. Let's come in here and add or select some faces here. And let's delete these Delete and delete faces. There we go. Do we need a little bit more though? Let me delete this one down here. Yeah, I think we do. And what about this up here? Let's try this. Yeah, that's not bad. That's a little bit better. Okay. I think we're getting there in the next video. Let's try and clean this up some. And then we'll begin adding the screws and the gear shift here on down to where it connects down here. So that's coming up next. 65. Continuing the Gear Shift: Well, before I apply these modifiers to this, I think I'll leave them on and finish this up just in case I need to adjust this somehow. Well, Let's do is let's maybe add those screws right here. We've got a couple of those around here somewhere. Where are those? Here's one. Let's duplicate this and bring it up in the z-axis up here. I'll bring it over to the other side and RZ 180 to spin it around. And we just need to bring it down here and into here. Let's do that. So I just want to bring this here. It looks like it's a little bit bigger than that. So maybe I'll bring that up some like that. And let's then bring it back. And it's tilted a bit, but it needs to tilt a bit more. So let's get the R key and move this. Pull it out. Now we doing up top here. Well, I'll turn it into Z or Z. There we go. So we've got that. And I think that works pretty well. And then let's just grab this and Shift D and move it over here. And now we're just going to have to do the same thing. We're gonna need to move it in and spin it in the z or z. Templates about even. We're going to need to turn it from the side here. Bring it out. So there we go. Alright. Now that we have these n, You see how it may be a little bit off our, our curves may be a little bit different. So this is why I really wanted to just wait before I applied those modifiers just in case we need to tweak this just a bit. Alright, now let's add the handle here. Let's take maybe two points here. I'm just going to take these two points and move the cursor to that position there. And then let's press Shift a and bring in a UV sphere. And we've got 32.16 segments and rings. Alright, That should be okay, Let's bring the radius down to 0.01. And here we go. Now let's see what it looks like here. So let's just scale this up. And you can see it here. It's just got like two ridges on it. It looks like. So Let's do that now while we're here, maybe I will, first of all apply the scale. And then we could select this edge and this edge and bevel these. We could press Control B and pull this out. Just have one segment there. And then let's extrude and then scale in the x and the y, but not the z. So we hit E to extrude S to scale Shift Z to turn off the z-axis. And let's just bring these in just to feel like that. Yeah, Let's see how that looks. Let's smooth it. And let's turn on auto smooth. That may be a little bit better, but when we do feel like that's a little bit too much, I'm going to actually go in and just select these edges here and give these just the tiniest bit of a bevel, just a little bit in Scroll, the mouse wheel, maybe. That's a whole lot of edges, but I think it will look kinda nice. Let's do that. Yeah, See that looks kind of nice. All right. Let's now bring it up and turn it a bit. So if we bring it up here, it just needs to turn a bit. Let's turn it into y-axis RY, like this. Maybe a little bit more. And then let's just bring this out like this. Maybe that's about right there. Let's see. Bring it down some let's see how that looks. Yeah, okay. So now that we've got that, we know where that stem is going to have to be right here, right? So it comes down straight, right down to here. And then let's see what it does here. Oh, and then it kind of flattens out like we've seen For alright, so I think we could do that as all one piece here all the way down. And then we convert the path to a mesh and squish that down so it's flat. Alright? So what I'll do with the cursor here is press shift a curve and create a path. And there it is, I'll turn it in the y-axis, RY 90. Let's scale it down quite a bit. And let's put this in place. Hit the G key, and I'll move this to about right here. So it looks like this needs to go around the gas tank and then come in some. Below it. So let's see what we have here in terms of points that could do that. If we took these two and moved them in like this. Alright, That might work. And where we're going is 0 to this little place right back here. So we're going to have to create that. That's still yet to be created. So we don't really know exactly where it's going to go to yet. But we can go ahead and move this out here like this. And then maybe we could select these two and sub-divide it. We can right-click and choose sub-divide and then take this point and move it in a bit like this. Let's take a look at that. So maybe we could subdivide these here. I'll right-click and choose sub-divide. And then we can take this and maybe move it up like that, just to bet. Maybe move this one down here just to make this turn a little bit tighter. And then let's go ahead and add some thickness to it. Oh, actually before we do that, let's come up here and take a look at how it looks connecting to the handle here. So think we're going to need some more points here because we only have two like this. So let's subdivide here and maybe subdivided between these two as well. Let's do that. And then you can take this and move it in. And move this one up. And move this one up as well. It looks like it needs to be a little bit tighter like that. Alright, now let's give it some thickness. Come over here and let's change, let's change our previews to three. Again, 3.3 here, just to begin with, let's see how that works. And then click and drag and bring out that, bring out the thickness there. Now let's place the rod that goes back. There's a couple of them actually, there's two. Let me hit the three key here and press Shift Z. We've got one going from the clutch back to this that we created coming from the other side. And then we've got this one from the gear shift going down into here. This is a piece that we're going to have to create as well. So let's do that. Let's, I'm gonna press Shift and right-click and just move this up to here. And then let's create a new cylinder here. And you know what I realize, if I do that, I don't know exactly where it's going to go. So I'm going to select Scene Collection here just to make sure it goes into that main collection there. So now press Shift a mesh cylinder and I'll take the sides down to 16 and the radius down to 0.01. There we go. Now let's scale this down. Maybe in the Z, s and z. And scale it down a little more. I'll turn it. Let's get it angled about the way it is here in the image. There we go. And then I want to scale it in the local z. So let's hit the Comma key. There we go and choose local and then S, z. And let's bring this out. I just want to bring it to right about here and down here. I'm not really sure yet where it's gonna go. But I do know it wants to come in some we want to take it in like that. And I'll smooth it. Turn on auto smooth. And let's see here now we could tab into edit mode and select these points now. And what does it look like down in here? Well, it looks like there's a bolt, but there's also a cylinder. So I'll just do this cylinder now, let's hit E S and scale out a bit. And then let's hit E and pull up like this, maybe to here. So we're just kinda preparing this for when we want to connect it up. Alright, we're making progress. I think in the next video, Let's go ahead and begin connecting all these pieces up. I'm going to subdivide this and just pull this one out just a bit so it curves just a little bit more there. And maybe I'll just grab these and move them in. And there we go. So in the next video, we'll try and connect these up and finish up the gear shift. 66. Adding to the Transmission: Before I begin connecting these up, I feel like I need to know where the end of this piece is going to go. And it's going to go right in here, right behind that chain cover, right in here. This is the other side of the transmission that we worked on. And if you look at these images here, it's got this piece bolted to the top that has this flywheel or circular piece here that we're seeing right out here in this image here. I think I'd like to try and put something in there. It isn't gonna be exactly like this simply because we don't really need to. It's gonna be hidden in here, in shadow and really not that visible, but I think we do need something to fill the space. Just so a viewer kinda gets a sense that there's something in there. I think what I'll do first of all is just maybe isolate all of this. So I'm going to select this. I'll select this piece here. Just some general pieces that I'd like to have isolated while I work on this. Yeah, there we go. I'll just select all of these and hit the division key on the numpad to isolate it. And now we need to just create this piece here on top. And it needs to fit here somehow. So I'm not quite sure. Maybe I also need that chain Garden here as well. Let's do that. Let me select this and I'll grab this. There we go. Now I'll hit the division key, and that just gives us a sense of where this is going to go. Alright, so first of all, I think what I'll do is maybe just grab some faces from the top here. Maybe I'll actually add an edge loop, say right in here. And I'm just going to grab some faces up here. Maybe like this. And let's just duplicate these shift DZ and I'll pull them up a bit. And then let's separate these with the P key. And now if we tap into object mode and just select that object, we can tap back into edit mode. And here we go. I think first of all, maybe let me pull this up a bit and then I'm just going to select all the edges all the way around and just extrude straight down. So we get this kind of thing. I know we're not gonna get all these little nooks and crannies, but I just wanted to give kind of a platform for it so easy and I'm going to pull down there, alright. And then kinda need something like this to come up out of here. So maybe, well, we could add an edge loop here like this. And then we could select these here. I guess. I do want to emphasize, I'm just doing a very rough rendition of this just to fill this space, I just wanted to make sure you understand that. I'm going to hit E and Z and pull up here. I'll hit the Z key again. I didn't need to hit Z there. And I'm just going to pull this down. Kind of get that in place. Okay. And then maybe this thing over here, let's just add something over here that might kind of look like this. Maybe we could hit the E key and pull out a bit. And then we can just select some of these edges and move them around to get that very rough shape here. Just trying to keep it pretty low poly while still getting that very basic shape. Alright, and then over here, let's go ahead and well, maybe I can select this point and move the cursor to it and then shift a mesh cylinder. And let's give it 0. I'll go ahead and keep it at 32 sides. Let's give it a triangle fan. And I'll type 0.1 and 0.2. Let's scale it down a bit, spin it in a y, scaled in the x. And then let's move it out a bit here. So it kinda fits in here behind this. Probably need to bring that down some I think, more like this. Alright, now let's switch back to the image of the motorcycle here. Maybe I'll go into the iPhone images and maybe this one here. Let's take a look at this. Yeah, so here's a pretty good image of it, I think. Now we want one of these things, this little piece right here. It kind of sticks up a little bit beyond that. I'll go ahead and smooth this. Turn on auto smooth. It looks like we already have that smooth. That's fine. And so what Let's do is let's create another cylinder, press Shift day mesh cylinder. I'm gonna go ahead and keep 32 sides. Again. I'm going to scale it in the Z, turn it into y. Let's scale it down quite a bit. And I want to get it right in here. Wants something about like this. And then what we can do is maybe take faces out here. Maybe 1234567. Eight faces, we can try that. Maybe. I'll go to this side view and press Shift Z so we can see this. And maybe I'll use ten, Maybe I'll go ahead and grab these and then let's just hit E and pull it straight out. And then we can scale it in like this. Oh, let me turn off the x-axis. Let's do that. Let's press Shift X, so we're only scaling and the y and the z. Now we could grab this edge and this edge down here. And we could scale these apart, but we need to change our transformation orientation. So maybe if we change it to normal, we'll get an axis between those two. Now we can press S and scale those out just a bit like this. So now if we turn this, I'll change back to global with the comma key. And if we spin this in the x-axis, maybe we can kinda turn it like this. So it's sticking up a bit. And also I want to create these pieces here on the end just because I think they, they look kinda nice. I will hit the division key on the numpad to bring everything back. And then with just this one selected, I'm going to hit the division key again. And now I really should have created these before I extended these and move these points out and I shouldn't, I. So what I think I'll do is just create a new cylinder. I'll press Shift S to, to move the cursor to here, create a new cylinder here. Let's take this down to 0. We probably don't need so many signs. I'll take it down to 24.01, 0.01, something like that. I'll spin it in the y. And then let's just scale this in the x. Get this a little bit bigger, something like that. Now we don't need all of these back here, I guess. I'll use this, see the circle select tool and delete those. And then push these back here like this. Then we can take this side here, select it, and then we could hit the I key and inset in E, pull out a bit s scale in, and just kinda get something that looks a little like that in there. And maybe I'll push it in. If the I key again and maybe pull that out and scale it in. So it's just something similar to that. It isn't It doesn't need to be exact. Let's go ahead and smooth it. And I'll smooth this one as well. Let's turn on auto smooth for both of these. And then I will maybe just give these a little bevel, something like that. Oh, it's not really doing very well there because I didn't apply the scale. Let's do that. And then maybe I'll do this one as well. Yeah. That's a little better. Okay, Then let's bring everything back with the division key. Alright, so now we know where this needs to go, right? We can take this and we can move this out just a bit like this. So now we know that this all needs to move out Just a bit like this, right? So that's why I wanted to create this. It just so we know where these are going to go in the end. As for this, we could take this face here and move the cursor to it with Shift S2. And then we could select this and hit the period key, choose 3D cursor. And now we're rotating from that point. And if we do that, we can hit the R key and rotate this up to get it right about where we think that's going to turn into that piece there. Let's switch back to median point with the period key. I'll change to local transformations. So the transform gizmo is in the angle of the object, and then we can move this back here. Alright, so now that we've got that in place, we can go ahead and connect these up. Add that piece here. There's a piece right here that we need to add. And we can take this and turn it into a hole in this piece. So we will do that coming up next. 67. Finishing the Gear Shift Connections: Alright, now let's hook all this up. If we look at this, is this in the right plane or in the right place? For this, I think it is, it looks pretty good. We should probably change our images over here so that we can see what it is we're trying to do habit if we open up this one here, yeah, that's pretty good. We can see this piece here coming off with the gas tank, this cylindrical piece, and this down here. And let's find one over here that will help us. Let's take a look at this one, see if we can see it from another angle. Yeah, we can see the back of this cylinder here. And we can see that this is kind of a, a bolt going through there. And it looks like there's a bolt right at the end of this too. So okay, let's see what we can do. First of all, let me find a bolt here that we can use. Well, we could grab this one here. Why don't we do that? Let's switch to global orientation. Press Shift dx and move this out here. And then let's bring it over here. And we can turn it, put it right in here, shrink it down a bit, and then we're going to have to maybe slide it. I'll change to local transformation, back to global and move that over here. And I think that's pretty good. How about this piece here? Well, we could search for another bolt, I guess, maybe, maybe one like this. Let's do that. Shift dx, bring this up because this has a cylinder in here that we can use. I will take away the rotations here, type zero into those fields. And I feel like I want to get rid of this down here, like this. And maybe take this and hit the L key and move it up. And maybe take this with the L key and scale it in a bit. All right, so now let's go place this over here. Once again, switch back to global with the comma key. Turn in the y. And let's bring this up and put it right there. You can see it right there in the reference image. So I'll bring that up, drop that in here. Maybe turn it just a smudge. There we go. And let's bring it back. And I want to grab this again with the L key, press Shift dx and move it to the other side. Then I want to take this right here, hit the Alt key and scale it out. So it goes through both of those like that. And then I want to take this and bring it down. So it's going to intersect into that. So I'll tab into edit mode and just grab that point. And I'm going to move it down. Then it looks like it isn't quite thick enough yet. You know, like it could be a little bit thicker. Let's scroll down here and shift and click and drag and bring that out just a little bit. And let's see how that works. Alright, so we've got that. The next thing let's do is work on this piece right here. And I'm just going to create a piece and inserted up into the gas tank. So if we come over here and see if we have a point and here's one. We could move the cursor to that. And let's create a cube. Let's take it way down to 0.01, and let's scale it in the x. And I'll move this back, scale them out. Let's grab all of these and move these up. We can move these out like this. Then it looks like it has a little panel right there. Let's just maybe take this and hit the I key and scale that in. And then we could actually grab these points in here and just move them around. We could do that. And then we can take that face, hit the E key and pull it out like that. Then I'll just add a few bevels to this here, down here and here. Maybe these as well. Control B, pull these out. And then let's take this point again. It's, the cursor is still there and let's create a UV sphere. Maybe I'll take this down to 18.12. And we'll type in 0.01. Maybe I put it right about here. Gail it out just a bit. And then we could actually take this and this up top and delete these. And then we could take these edges up here and these down here, this, and this. Here we go. We could extrude these and scale them and turn off the z-axis, Shift Z and bring those in. And then maybe I'll just bring this up a bit. And now let's grab some bases in the back here, and let's just extrude these back. Well, let me add two more bases. There. There we go. Maybe we could add quite a bit more actually, let's just add a few on top here as well. There we go. I think that's good. Now let's hit E and pull out like that. I'll delete those faces on the inside since we will never see them. We go and let's smooth this. And then what Let's do is come down here and let's add this little piece way down here. So it kinda turns into this piece here. Let's grab this. And I'll tab into edit mode. And let's just grab that face there. And I'm currently in local transformation. And what I'm gonna do is actually use this spin tool. But I need to move the cursor because it actually spins around the 3D cursor. So with this face selected, I'll just press Shift S two, and then I really need to move it. Let me hit the three key, and I'm going to click here and just move this out like this. So what I'm gonna do is come down here and click on the spin tool. And so I'll click on the blue here. I'm going to click and I'm going to drag. And we get that it's kinda flat and isn't quite right. We can click on the X and bring it up. We can click on the Y and turn it here. So what I'm gonna do is just come down to the X and the Y down here and zero these out. There we go. And I could maybe turn it a bit like this. So now I can come in and click and drag on the x and kind of move this in and out. Click and drag on the y and move this in and out like this. Maybe increase the number of steps here. So I'm thinking something like that. I'm going to decrease the angle a bit. Maybe, maybe actually type in 90 degrees. There we go. I think that's gonna be pretty good. What I'll do is I'll click on this tool or really any tool to turn off the spinner tool. And then I'm going to hit E and X and just pull this out like this, just so we get that out like that. There we go. So now we've just got that turning into this piece as if it's connected here. I could move this one around to get it more centered if I wanted. But yeah, that's pretty much what I wanted to, just something that turns in there. So we get a sense that these are connected, all of this is connected together. 68. Beginning the Wheels and Spokes: So I was looking at the spokes of the wheel here. And I noticed that this piece here is really pretty much the same as these spokes. Look at how it's got a turn here on this end. And then it's got like a wider cylinder here on this end, kind of like this. So I thought why don't we just cannibalize this and work on the spokes now. So I think what we'll do is right-click here and choose join areas and click up here. So we can see this a little bit better. I think first of all, I'll just duplicate this. I'm going to press Shift X and move it over here. I'm going to work on this tire here since we see that on this side in the reference image. And I think I just want to hide everything except this, what I'm working on in this piece. So let's just take these two pieces and I'll press M and bring them out in the main scene collection here. And then let's hide everything. Actually, I'll go ahead and right-click and choose duplicate area and bring this out just so we can see it all. And I'll hit the Minus key on the numpad. Here we go. So these are the two pieces that we're gonna be working on. This. What is this if we go around here? Oh, that's part of the transmission, isn't it? So let's take this. This is part of the gear shift. Alright, well, let's just do a little bit of clean up first, so I'll take this and drop it into gear shift. That's the tire. Let's put this in the transmission. And let's take this and put this in the transmission. So we just need to do a little cleanup is all. That's our tire. That's the piece that we want and this is that little thing that's part of the gear shift. Alright, let's drop that here. Okay, so now we've got our two pieces. I'm going to click and drag on everything else. We go and now we've just got these two pieces. So I'm just gonna move this over here for now. And let's work on this. Let's work on getting the wheel in here before we start working on the spokes. So let's make sure that we're in the center. I'm going to select this center edge right here. I'll hit the two key, alt. Click that so we know where the center is and yet look how the origin is just a little bit off. So let's move that. I'm going to press Shift S two, and then I'm going to move the origin to this point. Objects set origin, origin to 3D cursor. There we go. Alright, now let's go ahead and begin working on this. And to do that, I think what I'll do is just select one of these edges. Select an edge right here. And let's duplicate this. I'm just going to press shift D Enter. And it looks like this is the side that's being mirrored, right? We do have a mirror over here, so I'm just going to pull this out just a little bit like this. And then let's split it off. Let's press the P key and separate this by selection. There we go. We tap back into object mode, select that. And here we go. So now let's begin extruding this in. It looks like I could maybe press E, S and scale in a bit and then push in with the, with the x here. Maybe not quite that much like that. Then let's do that again, ES, and push in a bit. And then we need, it looks like there's an inner rim there. See that there. So I'll maybe do that. Let me scale in a bit. And then I'll press E S, pushing just a smudge and then ES again just a little bit. I'm just going to drag that in all the way and drop it in there and we have clipping turned on. So once we get in there, once we clip those two together, they aren't going to be aren't going to come apart. Let's go ahead and smooth it. And maybe I'll turn on auto smooth down here. And I probably want to add a bevel to that. But also I feel like I need to maybe E S and scale this out just a bit and then pull it in. And the x axis just a bit like this. There we go. So it's in the tire there. Yeah. And then let's print Control a and apply the scale. And then let's select this edge and this edge. And let's press Control B and bevel these just a little bit like this. Maybe, maybe two edges in there. Let's try that. Yeah, just get a little bit of a curve in there. Okay, So if we've got that where we think we want it. Now let's work on this piece right here. I think this needs to go in first before we began creating the spokes. So for this, I think I'll just create a circle. Shift a mesh circle here. I'm gonna go ahead and keep 32 sides. And let's take this down to 0.1. Alright. Then let's turn it in the y-axis RY 90, and let's pull it out. So i'm, I think this is kind of in line with the edge of the wheel and then the spokes kinda lean in toward the center, right? So I think we need this out close to the edge here. And let's also turn on the reference images again and see how big this needs to be. So it looks to me like it needs to be about this big. Let's go around to this side here. Okay, So this is this right here. You can see this little silver pieces, kind of star piece in here. So that's how big it needs to be. So we're off here quite a bit, but we can get this down to about where we think it should be. I'm just going to hit the G key and move it. Yeah, that's about right. And then hit Escape and it'll pop back in there. Alright, so I think that's about right for that. So that's tab into edit mode again. I think what I wanna do is first of all, scale in just a bit. So I'll hit ETS, pull in just a bit. And then let's hit E and the X key and push back. Then. We need to bring that in some. So ES. And I'll do that again. And then I'll press the M key and merge these at the center. There we go. Alright, so let's smooth it. I feel like I need to use the Bevel tool here a bit. Maybe I'll turn on auto smooth. Yeah, that's a little bit better. And then let's press Control a and apply the scale. I will then select this edge and this edge. And I feel like we need a little bit of a bevel in here like that. And we go and now let's give it some thickness. Let's come over here to the modifiers panel. Choose solidify, and let's choose even thickness and shift and click and drag. And I'm just going to bring this back. Maybe about like that just so it has a bit of thickness to it. Right? Okay, then let's go ahead and apply that. Click Apply here. And now we have that piece pretty much done. Alright, the next thing I think we need to do is deal with this guy over here. Oh, and you know what, I put it on the wrong side compared to this. So let me just spin this around on press RZ 180, and I'm going to bring it back over to this side here. So it probably needs to be, I'll hit the one key. I'm going to bring it back so it's kind of in line with it right there. Let's try that. Alright. I just wanted it on the same side as the reference image here. I think it'll be a little easier to deal with. Alright, so now this piece, Let's take away all the rotation here with these fields and type in zero. Okay? Let's turn it in the z-axis because it needs to face this way. So RZ 90, what wrong way? So hit the negative key and then we go and then hit Enter. And also I think I want the origin of this object to be right here. So let's select that face and press Shift S to move the cursor. And then let's go to Object Set Origin, origin to 3D cursor to get the origin of the object right there. Now that we've done that, let's bring this object origin to the exact center of our tire here. So I'll move the cursor there, shift S2. And then we'll select this and move this object to the cursor with Shift S eight. Right here we go. So now we've got it pretty much in the center. We want to move it out, so it's in here, right? And then we want to move it out like this. Move this into here. So it's just inside there. There we go. I'll put it right there. And now we can scale it down to get it about the right size. Let's scale it down until the width of this is about right we think. And then we need to press Shift Z tab into edit mode and just grab these points up here to drag them down so they're just sticking out like that. Let's see how that works. Is that about right? Do you think that's about a similar size? Yeah. I think that's about right now. Notice that it isn't going into here yet because what we need to do is turn it, rotate it in the y-axis. So RY, and then I'm just going to pull this back until it inserts right into there. Alright, so now we've got that one in, it's angled in. So now in the next video, we're going to take this and use the array modifier to spin it around and create the other spokes here on the tire. 69. Finishing the Wheels and Spokes: Alright, continuing with the spokes here, the next thing we need to do is create an object to spin the spokes around when we apply the array modifier. So what I'm gonna do is with the cursor is still in the center of the tire here. Let's just press Shift a and we're going to create an empty. An empty is just a point in space without any geometry to it. And you can have it look differently within the 3D view here, but I'm just going to choose Plain Axes. That's just a simple one that allows us to see where that point is in space. Alright, so that's our empty, that's going to be used to spin the array around. I'm going to ensure that it's in the scene collection here. There we go. And I'm gonna give it a name. Here it is here. So I'm going to press F2 and I'll call this array center. Now it's a temporary object, but I just wanted to be able to see what it is very easily. Now what I'm gonna do is take this and let's apply that array modifier. So I'll click here, array. There we go. So you can see the array already beginning to work in the x direction. We've got it at 1.0 here. If I click, let's take it up to ten because if I'm correct in this, I think there are 40 spokes, 20 on each side, ten going one way angling, one way in ten angling the other way on each side. So I think I think there are 40 total. But to begin with, we're just going to create the ten and then duplicate that to create the rest. So I've got a count of ten. Here they are. But I'm going to take the one out of here. I'm just going to type zero here in the x field. And then under Object Offset, I'm going to turn that on and twirl this down. And I want to click the eyedropper and click on the array center empty object here. Now, look at what happens. It's crazy, right? It's really big, it's really awful. It isn't quite right at all. And that's because blender is looking at both the rotation and the scale of this object to run the array modifier, once again, applying the transforms is very important to running tools. So first of all, let's apply the scale. I'm going to press Control a and apply the scale. Alright, so now that's good. But if we take this and spin it, Let's hit R and spin it in the x-axis, RX. You can see this is what happens and it's not doing too well, right? So let's select that again and let's apply the rotation. Let's do that. Let's press Control a, apply the rotation. Now it's looking a little better, but the problem is, is that it's spinning around the origin of this object here, right? So let's move the origin to 3D cursor and see what happens. So I'll come over here, go to Object, set origin, origin to 3D cursor. Now look at that. Now they're all in line, the proper size, and it looks like they have the right rotation as well. So once again, applying the transforms and ensuring that the origin of the object is in the center of the rotation where the empty is. Alright, so what I'm gonna do is take this empty and hit the R key. I'm in the left orthographic view. And I want to get this to a point where it looks good. And this looks pretty good right about here. And if you look at the rotation is 36.3. So I'm thinking that if we type in 36 here, that's gonna be pretty good. Let's take a look. Yeah, I think that's going to work. Okay. So now that we have these in place, the trick is just duplicating this, mirroring, rotating, etc. until we get it the way we want it. So first of all, let's come over here and apply the array modifier. Click apply here. Okay, now let's take these and what we need to do is spin them around so that we have spokes that go both this way and this way, all on this side of the tire. Then we'll do that over here as well. So the first thing we should do is duplicate this press shift D and enter. Alright, and then let's spin them around here, around the 3D cursor lists, press R, z 180, and that spins around like this. So now they're going in the proper direction, but they're pointing way out. Now. They're not quite right. So what we can do is we can actually mirror this. So let's press Control M and the X key and enter. Now if we pull this back, they should be about right? So let's pull it back to about here. And then let's hit the R key to spin it, and let's spin it around. So I'm going to try and get them halfway between in here, right? So they're just halfway between the others like that. Alright, so now that we've got that, let's take this collection here and this, and then let's join it with this one right here. Let's do that. Let's press Control J. Now those are all one object. Let's move the origin of this object to the 3D cursor. Objects set origin 3D cursor. And then let's duplicate this and mirror it over. So let's press Shift Enter, Control M, the X key, and enter. And there we go. So now that we have those, we can hit the R key and turn them and try and figure out how we want them to be. Now we could turn them like this, but that doesn't look quite right. Let's bring in an image of this from the side. How does this look? So it looks like it's turned so they're kind of all in line, right? So let's hit the R key and turn them. So they're kind of like this. Let's try that. Yeah, I think that has a better feel to it. It feels kinda like this. It looks like they've got this space here purposely and we've got that there. Yeah, I think that's pretty good. That that looks very similar to what we're seeing there. So now let's just bring everything back. Let's do that. I'm going to bring this down, click and drag all of this. And now what we can do is bring this over here, just duplicate it and bring it over here. But we ought to make all of this, all one object. Now we've still got a mirror on this, so I better apply the mirror of the wheel. Then we can select all three objects and press Control J. Then what we can do is find the center of this over here. Let's do that. Let's find the center with this edge right here. Press Shift S to, to move the cursor there. Yeah, you can see that is a little bit different than where the origin is. So let's now move the origin to 3D cursor. There we go. Let's then take this object that we just created, the spokes. Let's press shift D and duplicate, and then let's snap it over to this 3D cursor Shift S eight. There we go. Now we can delete the empty here and there we have our spokes. Yeah, that's looking pretty cool. 70. Beginning the Tire Treads: Well, since we've used an array to get the spokes here, Let's also do a similar thing for the tire treads. I've gone ahead and labeled the wheel and the spokes for the front and the rear. Let's just take those and let's drag them into this collection I've called it tires and wheels. And then that leaves us with just tire front here. So I'll just take everything and drag and hide that. Now what Let's do is use these reference images here to try and create the geometry that's going to be used with an array modifier to get it all the way around. So first of all, let's move the 3D cursor to the center of this tire. Let's make sure once again, I'm just going to Alt click this center edge that we're in the very center yet it looks like the origin is in the center there. So I'm going to move the cursor to that. And then what I'll do is start working on this pattern. And it's really just kind of looks like three diamonds, really like this one here. This kind of a diamond here. And then we've got a diamond on the outside. And I think if we just create these three and then mirror them over to the other side, will have one complete pattern that we then can use the array modifier to duplicate all the way around the tire. So let's work on that. Let's press Shift a mesh plane, and I'll press our X9 zero to turn it. And let's also scale it way down here. Something like this. I'll go ahead and apply the scale, Control a and apply the scale just so it's all ones. And now I'll tab into edit mode and let's just bring it forward here. Let's do that. Let's bring it forward in the y-axis. And maybe it needs to be out about this far, something like that. There we go. Back to the front and let's turn it 45 degrees, or 45. Maybe let's scale it in the z, something like this. And then let's scale it down a bit. And is that about right? Maybe a little bit smaller, maybe something like that. Let's begin with that. Well, let's begin by creating this one right here, just right here. So I'll take that and I'll move it to the side just a bit because it looks like it's off the center. So something like that. And then let's press Shift dx and move it over here. So maybe we've got this part right here now. And then let's also do this one on the side, it's on the side here. So let me, I'm gonna move this over just a bit like this. So let's then press shift D and move this into here like this. So now what we need to do is get this basic shapes. So first of all, I guess we should take these points here and I want to connect them. So let's devil these vertices with Control Shift B. And I'll pull out a bit, right? Something like this. And then we'll take these two edges, press Control E and bridge edge loops. So we've got those connected. Now this over here, we need to split these and pull this out in the x. So let's press Control Shift B again. Pull those out just a bit like that. And then I'll just select these and move them over like this. Let's try this. What about let me move it over like this. Yes. So I'm just trying to get that part where it has this kind of indentation in it. I do feel like we need to maybe just move these up a bit here. Since I beveled that they aren't exactly aligned with these. We can also take these and press S z zero. So they'll line up exactly if we want to do that, S is E zeros. So there we go. To get this indentation. We could use the knife tool, so I could hit the K key and click on this point, click on this point, move it out, and then hit Enter. Once again hit K, click here, click here, and then hit Enter. And then let's go ahead and hit the I key and move that in just to get that indentation. They are, in fact, I'll take it and I'll scale it out in the x just a bit like this, something like that. Okay, so now let's test this out. Let's duplicate it and mirror it over to the other side just to see if it's the right size and shape. So what I'll do is press Shift, Enter Control, M. I'll press X and then Enter. And now let's move this up like this and see how we did. Well, It's not too bad, but I feel like this isn't quite centered. So maybe I will select this, select these here and maybe move them over just a bit like this. Like that. Let's try that now. I'm going to delete this. Once again, duplicate Control M X. And let's move this up and see how we're doing here. Alright, That's not too bad. The only thing I can see, I can, I might want to do is take these and move them over a bit, right? Just to make this a little more even. And I'll take these and move these over a bit. So you just may need to pull some points around to get it the way you want it. And so I think that's pretty good to begin with. Let's give this a try. I'm going to take these and join them together with Control J. And we go and the center or the origin of that object is still here in the center of the tire. So that's good. I should apply the rotation here and let's do that. Control a apply the rotation. And now where the cursor is, let's add an empty, shift, a empty, and I'll choose a plane axis empty once again. And let's see where that is. That's right here, that's good. So now let's do is, let's take this object here and let's add an array modifier and see if it'll go around the tire and still look pretty good. See how the design is. So let's go to the modifiers panel. Add an array, and of course we get it going this way. Let's turn off relative offset and turn on Object Offset. And in this field, let's click on the eyedropper and then click on the empty. Now if we take that empty and press RX, there it is there. Let's get it to the point where we think it looks pretty good. I'll press R x again and let's get it. I'll hold the Shift key. Let's get it to the point where we think, maybe right about there. Let's select the object again and let's increase the count. I'll click and drag in here, and I'm just going to increase the count all the way around and let's see if it comes out even. Oh, it didn't. So what we can do is maybe I'll reduce the count here to 45. Take the empty and press RX and I'll hold the Shift key down and let's turn it just a bit and get it to a point where we kind of like it. Let me hit the one key again. And let's see, I'll press R x. Is this, do I have enough of account to make it work? Do I need to reduce the count at all? Let's see here. Let's take the count down to 40 and see what happens with this. Our x. And let's bring it up and around. Like this. Yeah, I feel like that's not enough. Now. I kinda like 46. I'm gonna go back to that. Let's do that. Yeah. So for the size that I created this, it looks like a count of 46. Looks pretty good, at least for me, I think. Alright, so now that we have that all the way around, in the next video, we're going to use both a shrink wrap and to solidify to try and get these treads looking like they're more of an integrated part of the tire. 71. Finishing the Tire Treads: Continuing with our tire treads, let's before we apply any other modifiers, make sure that this is in the center. I don't know that I did that. If I tab into edit mode, here it is. And yeah, I want to really have the center of the selection here, kind of in the center of the tire. So I just wanted to take this in the z-axis and slide it down, kind of like this. So it's really more in the center like that. Let's try that. And if I go to the side view, let me select that. Yeah, that's more in line with that. So I just wanted that in the center. Then let's add a shrink wrap modifier to this. Add, modify or shrink wrap will select the Eyedropper in the target field, click on the tire, and there we go. So now it's being conformed to the tire. It's kinda squished it in. Let's try a different setting, a different snap mode over here, we're currently on surface, Let's change it to outside surface, see if that helps any. And then we can click and drag and the offset and bring it out some. Let's try and bring it out about as much as we think it should be away from the tire. Maybe like this. Alright, and then we could also take our main object here, tab into edit mode. And then I'll turn on the cage for the shrink wrap. And then let's just scale it out in the x and see what happens here. Sx, scale it out a bit. Yeah, So I think if I scale it out until it conforms back to the way we had it. Maybe something like this. Let's try that. Yeah, I think that looks pretty good and I think that's a good distance out from the tire itself. So now that we've got that in place, let's add yet another modifier. Let's add a solidify. So I'll click here and let's choose solidify. And now if we click and drag, but let's choose even thickness first. And then if we click and drag on this, look how it's going one way or the other. And that tells us that we've got a problem with our face orientation. So let's take a look, Let's come up here, pull this down the viewport overlays and let's turn on face orientation. Well that's interesting. We have all blue on the outside, but both blue and red on the inside. So let's take a look. Let's hit the tab key, and let's select everything. Let's hit the a key here. Then let's try and press shift in, see if that helps. Yeah, it looks like that helped turn those. So we did even though we weren't seeing red on the outside, we still had a problem with the face is flipped and we could see the difference in here. So now let's see what we can do with this. Let's go back. Let's turn off base orientation and then, yeah, So now I think this is pretty good. Let's go and first of all, turn off the inside by turning on only rim and now we don't have a face on the inside. Okay? And let's then change the thickness just to bid until it intersects like that. There we go. Alright, we're to the point now where we're going to need to begin applying our modifiers. But, well, let's go ahead and smooth it. Let's try that. And then we'll turn on auto smooth down here. Yeah, I think that helps There. Is there anything else we need to do before we apply this? I think what I'd like to do is maybe take this point here. And let's move this out. We're not getting an even area between these here, so let's move these out of bed like that. Okay. I think I've got it to a pretty good place. Now let's begin thinking about applying these modifiers. And for this particular instance, I'm going to try and apply the modifiers from the bottom up. Now, you don't usually do that, but I want to keep the array so that when I adjust anything, any points at the end here, it adjusts the points all the way around. So the array modifier, for me at least is pretty important to keep at this point in time. Let's first of all apply the shrink-wrap. I don't want to apply to solidify because if I do, it will just shrink wrap it and squish it to the tire, so I don't want that. Let's first try and apply the shrink wrap here. Alright, that didn't totally destroy it. That's good. Now let's apply the solidify here. Alright, I think we're getting away with it. That's good. And then what I'm gonna do is grab some points down here like this. And I'm gonna begin pulling these out. So I'm going to pull them out in the x and pull them in and the y. So they have that point to them there. Yeah, I think that kind of work. Let's do the same thing over here. Let's find that point. And I'll pull it out in the x just a bit and then in, in the y. Let's see how that works. Yeah, I kinda like that, that that's that's alright. Then of course, anything else you feel you need to move around. This is the time to do it before we apply the array modifier. So I'm just going to come through and just find anything that I think might need to be moved around and get that done now, because once again, that allows us to do it for the whole thing. And of course this is the time as well when we should extrude these in if we think we're going to. So what I'm gonna do is take this and this and let's extrude these and I think I'll do them individually. I'm just going to hit E and pull it in like that. And you can see it's doing it all the way around. That's what we want. And I'll take this face here and hit E and pull that in just a little bit like that. Alright, so we've got those. The last thing I might try before I apply this array is a bevel. So we've got the scale at once. Let's try and select edges all the way around this. Like this, just Alt Shift. And down here as well. Let's try this, see if it works. Alright, so I've got up, I don't want this one here. I want this out here like this, right? I don't want this. I want these to go all the way around. There we go. And then I guess I want these out here as well, right? We can try this. And we can try this. Alright, now that we've got all those edges selected, let's press Control B. Pull out a bit. And let's add just a couple of edges there. See how that works. Alright, Yeah, I think that works pretty well. The only thing I would say is that maybe I want to add this edge and this edge. Let's try that. Yeah, let's do that. Alright, I think we've got it. I think we've got it to a point where at least I think we can apply the array modifier. Now, let's do that here. And then we can take the tire, then select the treads, press Control J and we can't do that. Control Z to undo and we need to apply that mirror here. Of course, let's do that. Now we can take the tire and the treads Control J. But I'm all together. And then we can delete the empty. And let's bring everything back. See how it looks. Let's bring this down. I'll bring everything back. There we go. Now we can take this tire and bring the cursor to that, delete it, select this, duplicate it, and then press Shift S eight to pop it back to the 3D cursor. And what do you think? Yeah, that looks pretty good. I feel like it's a little bit too wide. So maybe we could take the wheels and spokes and the tires. Maybe go to the front view and we can press Sx and scale in just a smudge like that if we wanted to. There we go. Yeah. That looks pretty good. We've got treads on our tires. 72. Beginning the Drive Chain: Well, since we've been using the array modifier for the spokes and the tire treads. Let's use it one more time for the chain here on the back of the motorcycle. I think this could be kind of fun. Before we do that though, let's take our two tires and wheels. I've just named wheel and tire front and rear. And let's just take those into the tire and wheels collection there. And then let's just go ahead and hide everything to get started on the chain. So I'll come over here and I'll just click and drag on all of these. And let's take a look at this. If we zoom way in, I'll press Control and Spacebar. And if we zoom way in here, you can see it's really just cylinders. And then kind of figure eight plates connecting them. And there are these figure eight plates on the outside and there's some on the inside. So I think if we create two cylinders, have these plates on the outside going this way and then the plates on the inside going that way. I think then once we use the array modifier, they'll connect up and look like the chain links here. So let's give that a try. I'll press Control and Spacebar. And to begin with, I guess let's just create a cylinder. Press Shift a mesh cylinder. And let's take this down. We don't need a whole lot of polygons for this, so let's take it down to 12. And I'll type in 0.1 and 0.2. And let's also give this a triangle fan here so we can just see where the center of it is pretty easily. Alright, now that we've got that, let's turn this in the x-axis. I'll press R X non-zero. Then we go, Let's maybe scale this out and the y just a little bit like this. And then let's create one of these figure-eight type plates. Actually, before we do that, let's tab into edit mode. And let's select these faces here. I'll just circle select this, hit the C key, and circle select that. And then let's just inset this. Let's hit the I key and inset this because it looks like we've got just something sticking out there. And then to extrude these out at the same time, Let's press ESY and just scale those out like this. Alright, let's do that. Now let's work on one of those plates. Let's go to the side v. Now let's go to the front view. There we go. I'll press Shift Z. Let's now create a circle to begin this figure eight piece. So I'll press Shift a mesh circle. Let's also take this down to 12 sides. I'll type in 0.1 here. And let's also once again create a triangle fan in there. Let's turn it in the x-axis are X9 zero. And let's scale that out a bit because it's gonna be a little bit bigger, right? Maybe something like this. Then we could take it and move it out to here. Alright, so this is the beginning of that first maybe the panel on the outside. Let's do that. So let's put that there. Now let's take this and let's duplicate it. I'll just select everything here in edit mode and press Shift DX. And let's move it over, say to something like this. Let's move it to here. And then we should probably just take these edges here and these edges here. And let's press Control E and bridge edge loops. There we go. Now we could scale it in the z just a bit. Here we go. So it looks kind of like one of those. Alright, so now let's give it a little bit of thickness. We could of course add a solidify modifier to this. But in addition, you can also just select all the faces and then hit E and y and move these out like this. Now when you do that, just like with a solidify, you risk flipping some faces. And we can come up here again to the viewport, overlays and turn on face orientation. And sure enough, we flip those, we pulled those inside out is what we did when we extrude them. So we can just hit the a key press shift in. And there we go. Now we have them all blue. Alright, let's turn off face orientation. And now we could take this, let's say, let's go to the front view again, and let's take this piece and duplicate it and move it over here into the center, right here. So let's press Shift dx, move that over until it's pretty much right in the center. There we go. And then that's what we have so far. Now let's do this again. Let's once again take this and let's duplicate it and move it over. So let's press Shift dx and slide this over until this is in the center, right. Here we go. Alright, so we have this, I'll pull it in. So this is one of the inside plates like this. Maybe bring this one in a little bit more. Alright, so we've got those now. Let's take these two and join them together with Control J. Let's then move that origin to 3D cursor. We can come up here or we can right-click and choose set origin to 3D cursor. And now we can mirror these over in the y-axis. So I'll press Shift, Enter, Control M, Y, and enter, and there we go. Now we've gotten them flipped over to the other side. Alright, I think this should be good to give us the beginnings of our chain here. So let's join all of this together, Control J. And then let's smooth it. And turn on auto smooth over here, and then click and drag that up a bit. And there we go. So now we've got the beginnings of our chain. Let's now select this and apply the scale and the rotation. So I'll press Control a, apply the rotation and the scale here. There we go. Then if we add an array modifier to this, I'll just come down here, click array. You can see we can begin to get that chain link there. I will go to the front view. Let's press Shift Z and I'll hold the Shift key down and click in the x relative offset here and drag this until it's pretty much right in the center here. Let's try 0.695. There we go. That pretty much gets it right in the center, I think. Then if we just increase the count, you can see there it goes. So that's how we're going to create the chain. The next piece of the puzzle is how are we going to get it to go around this curve like this? So in the next video, we'll work on that. 73. Finishing the Drive Chain: Well, we've created the geometry of our chain here. In fact, I'm gonna come over here to the outliner and just call this chain. And we've also added an array modifier to lay it out and multiply the number of chain links there. Now let's attach it to a path so we can then extend it and curve it around like this. So what we're gonna do is use the curve modifier. You can see that here. Under deform, you can see the curve modifier here. But first we need to create a curve that we can attach it to. So I'm just going to use a path. If we press Shift a and go to curve, we can once again create a path. We use this for the handlebars and the frame of the motorcycle. And one of the things to remember for this kind of process is that you really need to attach the geometry to the path, to the curve. Before you've done anything to the path, you can't really extruded or scale it or turn it or anything. You really need to try and attach your geometry to the curve before you do anything with the curve. Then once it's attached, you can move it around, extrude it, et cetera. But it really helps if you just do not do anything to it until the geometry is attached. Alright, so let's select the geometry, the chain length here, and I'll twirl this up and let's add a curve modifier here. And then let's, for the curve object, Let's choose the eyedropper, come over here and hover over that path and click. There we go. Now you can see it's moved to that path, right? And if we tab into edit mode, but let's select the path instead here, let's select that. Now. Now let's tab into edit mode. If I take one of these points and hit the G key, you can see we can bend that around that path and it works pretty well actually. So what I'm gonna do first of all is reduce the number of chain links we have on this to match the length of our path. So I'll come over here back to the array and let's reduce the count until we can see the path. There it is there. So for mine, I've currently got a count of seven. Alright. And before we do anything, let me just select the path and I'll change the name. I'll call it chain path, just so we know what those two things are. Now let's bring all the other pieces back into the scene. And what we're gonna do is turn and scale this and put this in place while both the chain and the chain path are selected. So we need to select them both now. And when they're both selected and we're in global transformation, we can turn and move them around and scale them to get them in place. So I'm going to press are the 90. And I'll go to the side view here and let's scale this down quite a bit. And let's put it in place with bring back our reference image here. And I'll press Shift Z to switch it to wireframe. And here's the chain right down here. So I'm just going to hit G. And let's just scale this down quite a bit until we get it about the right size. Maybe something like this. Maybe a little bit smaller. Let's try this. And I'll just move this back over here so it's hidden in there. And then let's pull this out to where we think it should be. It looks like the chain is inside of the frame, so we really shouldn't go any further than that, right? Let's just bring it right into here. I think. Let's try that. So now I'll just choose the path, hit the Tab key. And now we can see those vertices in the path. And we can then begin just hitting E and extruding this along the length of the chain here in the reference image. Now, for the chain to come along, we're going to need to increase the number or the count on this. So we could take this, we can take the chain here, come over to the array and just begin clicking and increasing the count. So we could do that and then go back to the path. And here we go, we can begin hitting E and bringing these along around like this. And I'm looking at that black line, that's the path that the chain will go along. The list. Just keep turning this around, like this. Bring it on out and then we'll maybe take this, well, I'll bring it one more and then kinda take this down into here. Alright, let's take a look at that. Yeah, I think it could use a little bit of work here. I'll hit the G key. Move these around. And maybe I'll bring some of these up a bit. So they go up into that chain guard a little bit more. Alright, let's try that. I'll select the chain now and then let's just increase the count and see what we think goes all the way over and all the way down like that. And there we go. Now, if we select the chain and we hit the Tab key, you can see it just goes straight because we haven't turned on the edit mode display here. But I think that's actually looking pretty good in terms of the width of the chain. Yeah, I think that's pretty good. We could maybe do a little bit of adjusting here like this. But ultimately I think that's going to work pretty well. And in the end, we're going to need to apply all of this. We'll need to go in and apply each of the modifiers. But for now, I'm going to leave those on so that as I put the other pieces on here, I can make adjustments and move them around if needed. Alright, so there we go, another use of the array modifier. And now we've got our chain. 74. Modeling the Tail Pipe: Alright, now let's come over here and work on the tailpipe. I've got some images here for us to look at as we create this. And I think what I'd like to do is just use extrude and scale to get this basic shape. I don't think we have to do anything fancy here. Let me tab into edit mode, and I just want to select an edge on the inside here like this. I'll hit the period key on the numpad to zoom in. And let's go to the left orthographic with control three. There we go. And I'll just duplicate this shift DY and move it back into here sum. And then let's split this off as its own object. I'll press P and separate by selection. So now if we tap back into object mode, we have that as its own object. We can move the origin to that object. I'll just right-click and choose set origin to geometry. We can also apply the rotation if we wanted to, I'll just do that control a, apply the rotation. So now we have a new object ready to go here. And if you recall, our reference image was a little bit off when we were creating the tailpipe here. I think what I'll do is come back up here and turn on the collectability of the reference images again right here. Then select that image. You can see the right side image has been selected. And then I'm just going to hit G and move it down a bit so that it's kind of in line with the model here. I think I'm going to need to be a little bit more precise as we extrude this out. So I just want something that I can really match the model up to as we're extruding. Alright, so let me turn this off now so we can't accidentally select that. I'll select that one circle that we just created. Let's tab into edit mode and let's begin extruding. So it looks like coming out of this piece, coming out of what I'm going to call the muffler here. It's still circular but then angles up pretty quickly here. So I think I'll just hit EY and pull out to about right here, let's say. And it looks like I could bring that image down even more now, I think I'll grab that image one more time. Here it is. And just bring this down just slightly like this. There we go. Alright. Now let's go back to our, well, our cylinder now. And from here, what Let's do is begin extruding and scaling up. So I'm going to take the very bottom point of this cylinder here, and I'm going to move the cursor to it. And then I'll hit the period key and change the pivot point to the 3D cursor. So anything we select is going to have the pivot point there. So now if we extrude out, we can hit E, y and pull out a bit. Now I can press S and Z and scale up some like that, right? So we're going to scale from this bottom part for each extrusion. Now, let's go to the quad view with Control Alt Q. So we can see these a little bit better. Because what I wanna do is begin to scale this in, in the x because it looks like it's really a lot thinner once we get to here than it is when it's coming out of the muffler. And let me show you one thing about the quad view. So if you notice here we're actually on the wrong side. And if I hover over this and press Control three, only this part up here that we can tumble around this user window. Only this changes, I can't change this. And what I'd like to do is keep this in perspective, but have this the left orthographic view. And to do that, you can hit the End key to bring up the sidebar here and go to View. And way down here is quad view. If you twirl this down, you can turn off lock rotation. And when you do that, you can then hover over this press Control three and spin around to the other side. So that's kinda helpful if you want to change your view within this quad view. I'm going to turn lock back on so I don't accidentally change anything else and I'll hit the End key to close that up. Now what we can do is we can see here with the top and the perspective and even the front here, how much we're squeezing in, in the x as we go back. So it looks like maybe I should squeeze it in or scale it in the x just a little bit right here now. So I'm just going to go a little bit like that. Alright, so now that we've got that, let's go again. Let's hit E. Why pull this back? Scale up into the z as z like this. And then I'll scale in the x. Once again like this. Just a little bit so you can kinda see it up here. There we go. Alright, let's do that again. Let's hit EY and pull out and then S, z and pull up. And then let's scale in the x. Push in just a bit like that. There we go. Alright, We're getting there. I think I'm gonna get to right about here. And then we're going to begin rotating each extrusion so that by the end it'll be in line with the end here. So let's keep going. Let's press E y, pullout, SZ, pull that up some. Now let's press Sx and bring it in like that. And that may be about as far as I want to go in terms of the x-axis. Well, let's see, let's see how it looks. I'll press E Y again. And right about here is when I want to begin rotating this, but first I'm just going to bring this up in the z-axis like this. Then I guess I will scale injustice Mitch here like that. Okay? Now I'm going to keep the x-axis as it is. And then for each extrusion, I'm going to rotate at the 3D cursor, but I'm going to need to move it each time. In fact, maybe I'll begin here. Let's, let's try this. I'm going to select this point, press Shift S to select this row again and hit R and rotate it forward just a bit, and then S Z to bring it back up to match the reference image. Alright, so now E, Why pull it forward, just a smudge. It are, oh, and this time we're going to have to move that cursor. Now. We're going to have to move it to here, shift S2, then select this, I'll just Alt click it, the archae, bring it forward some, scale it into z. Here we go, Something like that. Let's do that again. Ey, move forward. Select this point, bring the cursor to it. Alt, click this r. And let's lean this forward like this. Maybe bring it in just a bit like that. Okay, and maybe one more time. Let's see. Ey, bring it to here. Select this point, shift us to select that, and let's hit R and let's bring it over here like this. Then let's press S Z and bring that down a bit. Rotate it back a hair. There we go, something like that. Let's see how that looks. I'm going to press Control Alt Q, Shift Z. There we go. Alright, I think that basic shape is pretty good. Let's smooth it. And I'll also come down here and turn on auto smooth under normals. Here we go. Oh, it's already on because we pulled it off at that other object, of course. Okay. And then let's drag this up just a bit to make those curves a little bit smoother. Yeah, I think that works pretty well. And then from here we could give it a bit of thickness. So let's ensure that our scale is all ones and it is, alright. And then I'll come back over here, add a solidify. And let's turn on even thickness, click and drag. I kinda want to bring this back a bit. Let's see how it looks. If I bring this something like that, see how that looks. Oh, we've still got that little bit right there. Yeah. Let's see how that looks. That looks pretty good. And then let's add some of these screws here. If we go back to the side view and press Shift Z, we can see there's some screws here. Let's grab something. Well, we can grab one of these. So what Let's do is just select this tab into edit mode. And let's select a point, maybe this point right here. And let's bring the cursor to it. And then let's grab one of these press shift D and entered to duplicate it and then press Shift S eight to pop it over here at 3D cursor. Now we can just take it and move it. And maybe I'll scale it up a bit. Let's change to medium point here with the period key median point. And I'll hit G and move this into here, scale it up a bit. And then we can press shift D and move this down to here. Spin it just a little bit. Now let's get these kind of in place on this object like this. Alright, there we go. So now we've got our tailpipe. 75. Using the Boolean Modifier on the Gas Tank: Now let's work on creating this slot here. This, I don't know, indentation or a cut actually into the gas tank here. And for this, I think we just use a boolean. We'll just create a shape and create an object that has this basic shape and we'll cut that out. But before we do that, we're going to need to deal with these modifiers. So with this selected, let's just hit the division key on the numpad to isolate it or here in local mode. Now, first of all, we need to apply the mirror. So let's just come over here. Well, let me make sure we've got clipping turned on and we do. Okay, so let's go ahead and apply the mirror. And then if we tab into edit mode, this is what we have. So we've got two viewport levels. If we take it down to just one, it gets kinda blocky. I think we need at least two. And if we take it up to three, it looks pretty good. It looks pretty smooth. But I think that may be a little bit too much because if we press Shift Z and turn off optimal display, that's what we get and that's quite a lot. Let's take it down to two. Yeah, I think that's just a little bit better. View port level two is really kind of a compromise. I think I think it will work just fine. Let's go ahead and apply the subdivisions here. I'll click Apply. Now, we need to create that object that we're going to put in there to cut it with a Boolean modifier. Actually, before we do, I think I'd like to bring a couple of other pieces back, maybe the seat and the speedometer just so we get a sense of where or how far we're going to cut into this. I'll hit the division key, select the seat, select the speedometer, and then let's hit the division key again, just so we can see kind of where it should be. Alright, so let's create a cube. Here. I will take it down. Maybe let's type in 0.1 for the size. Let's bring it up. And maybe let's scale it in the x till we get it about the width that we think we want it. I'll scale it in the y, scale it in the z. And let's bring this over. Try and figure out where we want this. Maybe I'll scale it a little bit more on the x here. And I think that's not bad right there. Maybe I'll move it up and I think it cuts all the way through. Yeah, let's go with that for now. And then I'm gonna take this and apply the scale. Let's press Control a and apply the scale. And then to get that rounded end, Let's tab into edit mode and select these two edges. And I'll just press Control B and bevel these edges. And maybe just, let's do something about like this. Let's say how about that? And I might be able to scale it in just a little bit in the x. Alright, now that we've got that, let's go ahead and make that cut with a Boolean. I'll select the gas tank and let's add a Boolean modifier here. Let's click on the eyedropper and then click on the cube. That'll be our cutter. And we're getting a little bit of an issue here. Let's scroll down and see if we can turn on auto smooth. Yeah, and that helps clean that up quite a bit. Okay, and let's also take this and come over here to the object properties. And if we scroll way down, we can change our display mode from textured two wire and now we can see through it. So we can actually see the cut happening. And so do we need to move this forward some? Do we need to move it back? What do we think? I think right about there is pretty good. So let's go ahead and go with that. I'll select the gas tank. Now let's go back to the modifiers panel and let's just click Apply. There we go. Now we should be able to take this, hit Delete. And maybe I'll go ahead and smooth it once again. And let's come down here and maybe drag the auto smooth up just a bit. Yeah, that cleans that up pretty well. There we go. Now, if we hit the division key here and go back to the side view, it looks as if we could move the seat up just a bit. So Let's just select this and I'll move it up just a hair and then tab into edit mode. And maybe we could just grab these points and hit G and move them up just a little bit. We go. Now we have some room to create this little tubing piece right here, right there. And then we'll also need to create that panel here. And speaking of creating future objects, I think what I'm gonna do, because we've really gone over all the tools and techniques. I think we need to finish off the motorcycle. And what I'd like to do is go ahead and finish it out. To create the remaining objects off camera and then come back in the next video and talk about the things that I've created. And what I'd like you to do is work on those objects on your own, yourself. So one example would be, say inbetween this piece and this piece, we need a carburetor. And I have gone out and I've found some images of a carburetor here from 1936, Harley-Davidson knucklehead motorcycle. So if you take a look at, say, this image over here, I'm going to select it, hit the period key and zoom way in. You can see two little pieces here sticking up. And that's these pieces here. So you can hide everything in the scene and just create this, and then bring everything back, scale it, and put it in place. Just like we've done so many times for all the other pieces. I'd like you to work on that. Before the next video. Go through the bike, look for things that you can do and go ahead and add those pieces. Another example would be the cylinder heads here. So we need to put the cylinder heads on the top here. And once again, I've gone out, I've found images of 1936 Harley Davidson cylinder head. And I can use this to create that object here, just like we've done for every other piece on the motorcycle. And likewise, the brakes on the tires. We could come in here and take a look in the iPhone reference images. And let's find about maybe this one here, control and Spacebar. And if you zoom in, you can see that this really isn't anything any different than we've already done. It's a cylinder, It's got bolts. It's got one of these things that we already created for the transmission. It's got tubing, just like we've done for the frame, the handlebars, the wires on the circuit breaker. So you have all the tools and techniques to begin to add all the other pieces for the motorcycle. And these braces here. This is very similar to other things we've done. You could just create a polygon and then extrude it to get that shape. And then add a solidify modifier. And then we've got screws or bolts that you can add here. So I think that's what I'm gonna do. I am going to take a little time and add the other pieces of the motorcycle, and I would encourage you to do the same, Give it a try, take some time and work through creating the other pieces here. And what I'll do in the next video is come back and kind of give an overview and talk about the different things I've created. And we'll take a look and compare what we've done. And then after that we'll move on to UV mapping the objects and then into the texturing process with substance painter. And I would really encourage you to, anytime you come up against something that you think, well, that's just too complicated. Break it down into its component parts. Zoom in just a little bit more. So for something like this, you might think that looks very complicated, but in the end, it's made from individual pieces. Say this piece here. You could just create a polygon plane and then begin extruding it to get that shape and then add a solidify. All of these here are bolts that we've already created. You could duplicate and drop in. And it doesn't have to be perfect, it doesn't have to be exact. Once again, you just need to get some objects in there to fill the space and to give a sense that there's some detail there. So give it a try. Add a few pieces, see how it goes. And in the next video, we'll break it down and talk a little more about it. See you then. 76. Appending Objects Into Your Scene: Well, as I mentioned in the last video, I've gone ahead and finished up creating the objects for the motorcycle. I mean, there's always more that you can do. Of course, I haven't gone into every single detail, but generally speaking, I think I'm pretty much done. Now as I've said, nothing I've done here is any different than what we've already done elsewhere in this course. All the processes, the tools, the techniques. They're all the same for all the things I've done here. And really a lot of it is just very simple things jumbled together, put all together. So it just feels more complex. Like an example of that I think is this part of the front wheel. Much of this is just objects that we've created before. And I've just basically duplicated and move them over here. I'm just going to select a few of these just so you can kinda get a sense of what all this is. I'm going to hit the division key on the numpad. And now you can see that it's really just some of the bolts that we've already created. Just duplicate it and move it over here. These rivets two, we're just duplicated and moved over. These pieces here are just a polygon plane extruded. And then I've added a solidify modifier to it. This is just a circle that I began with, I think right in here, and just extruded into the center. And then I use the Bevel tool to round out the edges here. This piece down here, this right here. This is just two cylinders. So one cylinder here, one cylinder here. And then I bridged edge loops between three faces and then extruded this one out some more into the back here. That's all this is. It's all just very simple things put together to get this general feeling of complexity, right? I'm going to hit the division key again. Another example is the cylinder heads. So let me just select this stuff here, maybe this and this. And let's hit the division key as well. And then this is just all I did is I duplicated the top of the cylinder head, pulled it up, split it off as its own object. And then I created these things, just one of these things right here, which is just a cube scaled, and then two corners beveled. And then I just duplicated this for all of these other ones. These up here are of course just more bolts. This right here is just a cube turned 45 degrees, and then two of the faces that are extruded out, and then the corners are beveled. This of course here is just a bunch of cylinders, right? So I just created a cylinder here, created a cylinder here, one here, one here. And just put them all together. Once again, just cylinders and cubes put together in such a way that it gives the impression of complexity. Now, this up here, I want to mention this because it's a little bit different, but it's still the same processes and tools. You can see I've created this trim around the seat because it had one in the reference image and I thought, well that looks kinda nice. So what I did is I created a path, put it right up here, then use the shrink wrap modifier to shrink wrap it to the seat. And then I just began extruding. I selected a point and then began extruding on around and I just created half of it and then mirrored it over. And then what I did is I applied the shrink wrap modifier so the path would hold its shape. And then I came in and manually moved these in and around so it kinda fit around the seat a little bit better. And then I converted it to a mesh and then joined it together with Control J with the rest of the seat. And you might think, oh, come on Darrin, don't make me do that. And that's fine. You can of course, open up this scene file number 76 and just begin from here doing the UV mapping and the texturing, That's fine. But also, you can come in here and select an individual object or even a collection and append it into your own scene file. So let's just say you've got a scene file here. And you want to bring in that seat. So I can just hit the a key and delete everything here. Now, first of all, I need to come over here and save the scene. You have to do that. Then you can use the append tool. And you can find that here under file and append. And then you browse to the blender scene file. So here's the one I want, number 76, just click Append. Then you can come into the object folder, click on seat, and append. And there it is. Hit the period key. And there you have it in your scene file that you can add to your motorcycle. Now let's say you wanted to bring in a collection. You can do that too. You can come over here and go to File append. And I'll go back up and choose the collections folder. And let's say you wanted to bring in everything in the gear shift collection. Just select that collection. Click Append. There it is. Now it's come in to the outliner over here. And you can see it in here as well. So if you want to, you can just append any object or collection you want into your file from here. But as I've said, I really encourage you to try and build a lot of this on your own. It may not work out the first time. That's fine. It doesn't work out the first time when I do it either. But the more you do it, the more you see and get a sense of what needs to be done to create certain kinds of objects. Well, in the next video, what I'd like to do is begin preparing the model to export out to Substance Painter. I've still got a lot of objects in here that have modifiers on them that maybe need to be joined together or reorganized into collections. And so for the next few videos, let's spend a little time preparing the model for export. And then we're going to work on UV mapping. And once we do that, we'll begin exporting to Substance Painter. 77. Applying the Modifiers and Converting the Paths: So before we begin the UV mapping process and the exporting to Substance Painter, we need to go through and apply the modifiers that we've created here. The problem is, is that the code that creates and allows the modifiers to work here in blender isn't in Substance Painter. So these modifiers aren't going to transfer to another 3D program. So if we're going to take the model out into anything else, whether it'd be a game engine, a texturing program, whatever we're going to need to apply these modifiers. So like for the fenders here, I'm just going to go ahead and select all of the vendors you're in here. And then I'll hit the division key. And let's just take a look at these. What I've done is used a mirror modifier, of course, to mirror it over to the other side and a subdivision surface to make the curves a little smoother and a solidify to give it thickness. So all we really need to do is just go through here and I want to ensure that clipping is turned on for the mirror. But let's just go through here and apply each one of these from the top-down and make sure that there isn't any change when we do. But I think that looks pretty good. So that's really the process we're just going to go through and try and find all the objects that have some sort of a modifier on them and apply them usually from the top-down, ensuring that there aren't any problems or changes to the object as we're applying these. So I'm just gonna go through and get these. So now each one of these is a polygon object without any modifiers, and that's what we need to take into another 3D program. Now I see here that there may be a little bit of a problem. Let's hit the division key. And it's kinda hidden here behind things. But I think I would like to add edges onto this. So I'm going to just press Control Z and go back a little ways here. There we go. So now I'm just going to go in and add a couple of edges here just to tighten these edges up. So I'm just gonna go with this one. And I'll add an edge right here and pull this down as well. And maybe I could add one right over here. Here we go. Just wanted to kinda tighten that up. So keep an eye on the modifiers you're applying and make sure they're the way you want them to be. Okay. So now I'm just going to go ahead and go through and apply these again. And I'll get these up here as well. It looks like I've got them the way I want them. Okay, so I'm just going to apply all of these. Alright, so now as I said, these are all polygon objects with no modifiers on them, and that's what we want. So let's see what else do we have here? How about this? Well, we've got a subdivision on this and it's got two viewport levels. Do I really need that many polygons? Because if I press Shift Z and turn off optimal display, you can see that's what we'll get when we apply that subdivision surface modifier at two. I think that just maybe too much. Let's bring it down. That's just a little bit more reasonable. It's still a lot. But I think the difference 2-1 isn't that extreme to really justify that many polygons. So I'm going to take it down to one and then apply. And there we go. So that's what I'm gonna be doing. I'm just going to be going through and applying any modifiers I can find. And seeing if it's correct, seeing if maybe I've got too many subdivisions or maybe like for a path here, let's tab into edit mode, and yet this is still a path. Let's take a look at this. If we go into the object data properties here, do we really need 4.4? Well, let's take a look. I mean, if I press Shift Z, this is how many polygons we're gonna get when we convert it to a mesh. Do we need that many? Let's come up here and take this down 4-3. That didn't change it drastically. Let's come down here and change this 4-3. And how about down to two? I feel like let me press Shift Z again. Feel like I do need three here. So I think I will go with that. Now, as I do this, you can see we're getting some blocking in here, right? If we turn this up here, we can begin to get that blocking is smaller and smaller. But once again, we're adding to our resolution here. So it's a balancing act. There is no real right answer here. It's kind of what you feel you need to give the impression of the objects that you want. So I think what I'm gonna do for this is I'm gonna go with 3.4. Let's try this. So I'm gonna go ahead and right-click and choose Convert to a mesh. And there we go. Alright, so we've got that one, this one here. This also has a subdivision on it, a subdivision one. I'll go ahead and apply this. And that's what we get for this down here. I feel like I need a transition. It looks to me like in the reference images, there are two materials like a black material on this part going up into here, and then a chrome material going from here to here. So I think I'm going to split this apart. This is still a path, so we need to convert it. Let's first think about we've got 3.3 here. If I press Shift Z, that's what we get and I think that's pretty reasonable. So I think I'll go with that. I'll right-click and convert to a mesh. And then I'll tab into edit mode. And maybe right behind here I think I'm going to take this and select this edge. And I want to split this into two pieces. And one way to do that is just to bevel this edge Control B and a. Pull this out with just say one segment. We go, I've just got one segment. And then I'm going to hit delete and delete faces. Now I'm going to take this edge right here, and I'm going to change to normal transformation. So my axis is in line with that. Then I'm going to hit E S, scale up just a bit. It easy. Pull out tibet. Oh, I don't want Z. Let me just hit G and I'll pull it out. Yeah, that's a little better. And then I'll hit E S and pull that in. So we've got this connection or this separation between the two. So now I could take one of these, just hit the L key and hit P and separate it from that other piece. And now we have two pieces here. So it'll be easier to apply to different materials to it. Alright. What else? Well, there's this, we could apply this subdivision here. Let's do that. So this is what I'm gonna do. I'm gonna be going through the model, trying to figure out what needs to be applied like with a path. Well, this has actually been applied, but then I would need to apply the subdivision and the mirror here. So let's go ahead and do that. Click here and here. So this now is a polygon object with no modifiers. So as I said, I will continue going through this and trying to get to the point. So all the objects here are only polygons with no modifiers on them. And then once that's done, we can begin going through and UV mapping our objects. 78. Special Cases When Applying Modifiers: I think there are two parts of the bike here that probably deserve special consideration, and one is the handlebars and the other is the springs here. So let's take a look at applying the modifiers for these. First of all, the handlebars are a path that has been mirrored over. And I also have a subdivision modifier over here. Now I have it at viewport level to which really gives a nice smooth surface for this, but that really may be too much if we press Shift Z and turn off optimal display. You can see that that's a lot of polygons. If I take this down to one, That's still not a small amount. And what I'd like to do is try and figure out if I can reduce the poly count while still maintaining a fairly smooth curve on this. So one thing to know about this is that since it's still a path, we can't just come over here and apply the modifier. So if I pull this down and click Apply, we get this error that says you must transform the curve to a mesh in order to apply the modifier. But the problem is, is if we convert the path to a mesh, it's going to automatically apply all of the modifiers in the stack. So let me show you if I come over here and convert this to a mesh, look at that, those go away. And here we are. Now we're stuck with a ton of polygons, so I don't really want to do that. So before I deal with the modifiers, the mirror and the subdivision, I'm just gonna go ahead and remove them. So we just have this one over here on this side. Now we can come over here and take a look at our preview you and our resolution down here. So is this enough? If we press Shift Z, we can see this is what we'd get. If I come up here and reduce this a bit, that reduces the number there. If I come in here and reduce this to two, that seems a little bit too blocky. So I could go with 3.2. The problem is, is I've got this chunk Enos here. We might be able to deal with this a bit when applying this modifier, but it seems a little blocky. So what I could do maybe is let's come in here and I'm going to reduce this down to two now to reduce the number of cross sections. And then I'm going to try applying subdivision here. Alright, that cleans that up some. But what does that do for us in terms of poly count here? Not too bad actually. So maybe the combination of low resolution for the path and a subdivision can give us a nice balance. So that's what I mean by just coming in here and playing around and seeing what you can get. Like, can I even take this down to one? That's interesting. I don't think that's going to work. You can see it's kind of blocky there. Maybe twos about the best we can do there. But what about down here? Can we take this down to two or 11? Kind of introduces some chunky ***** in there. So maybe, maybe twos, good. So now we've kind of found maybe a happy medium here, right, with a subdivision and a reduced resolution on the path. Okay, so now that we've done that, let's go ahead and convert this to a mesh. And that applies the modifier over there. And then let's come back and add that mirror over here. And then we can apply it. I don't need to turn on clipping because the two sides aren't touching each other. So I can just come over here and apply that. And there we go. So I think we've reduced the poly count somewhat while still retaining a nice curve. Alright, let's take a look at one of these here. What we need to do here is close up this end, right? But we can't do that until we apply these modifiers. Let's see what happens if we apply the screw modifier here and the simple deform here. And then if we tab into edit mode now we have polygons that we can work with. I've got normal transformation mode selected. Let's try local. Yeah, that does a little bit better at aligning the gizmo to the object there. So let's then take, say, these three edges here. And let's scale on the y as y and pull these down some. And then I will deselect this edge, press S Y and bring these down. And then I will deselect these and bring these down quite a bit more like this. Then let's just begin pulling them in. So maybe I'll pull that in like this. Pull it in. And all I'm doing is just trying to hide these edges. Are that open end? I just didn't want it to be so prominent. So maybe something like this. Let's see. Yeah, so it's just kinda hidden away. So as you're viewing it from a distance, you're not going to see a big hole in the spring. So that's a similar thing that we can do over here. Maybe we could, Can we turn on auto smooth here and click and drag that up? Yeah, that kind of smooths that out some. So those are just two examples of objects with modifiers that you may need to just take an extra look at as you're applying the modifiers. Alright, so what I'm gonna do is go through the whole motorcycle, find all of the objects that have some sort of a modifier on them or are still a path that needs to be converted to polys and clean all that up. And then in the next video, we'll actually begin UV mapping. And the good thing about UV mapping before we do any texturing before we even export it out, is that we will discover any modifiers are past that we've missed as we're UV mapping. So that's coming up next. 79. A Quick Introduction to UV Mapping: Alright, let's start UV mapping. Now. I'm one of those strange creatures that actually enjoys UV mapping. For me, it's kind of like again, it's kind of like a puzzle, but I know it's not real popular for a lot of people. But bear with me, it's a good process to understand and to get to know. And hopefully, once we do it a bit, it'll become second nature and you won't see it as this horrible thing that has to be done. So what is UV mapping? Well, it's, It's the process of making a two-dimensional representation of a 3D object. So the way I like to explain it is it's kind of like taking a cereal box, cutting it on a corner, and then opening it up and putting it down flat on the kitchen counter. And then you can paint on it, drawn it, whatever. And then you can reconstruct it into a 3D object, put some tape on the corner, and now you've got that 3D object with two-dimensional images on it. So that's really what we're trying to do with UV mapping. We're trying to create a two-dimensional version of our three-dimensional object so that we can put two-dimensional textures onto it. So first of all, what I'd like to do is just find some fairly simple objects to begin with. And I think maybe these exhaust pipes might be good. And as I mentioned, we're gonna begin cleaning up and reorganizing some of these collections. There are things that are in the wrong collection. I know as we've been going here. So UV mapping gives us the opportunity to clean that up a little. To begin, let's go over here to the UV Editing tab right up here. And when we do whatever we had selected goes into edit mode. So let me just tab back into object mode for a minute here. And here is our UV Editing window. One of the things I'm gonna do first is just create a new window up here. I'm going to just hover over a corner and click and drag down like this. And then I'm going to change this window to a shader editor. We just need that. Hit the End key. And in here we'll be able to create a new material. We're going to create a UV test pattern so that we can test for stretching on our UV mapped objects. Alright, so let me bring this down. I'm going to hover over here and hit the negative key in the numpad just to collapse all those collections back down. And so this is basically the interface layout I like to use when doing UV mapping. So let's now come over here to the outliner and let's find those exhaust pipes there they are right there. So I'm going to right-click on that and choose, Select objects. And that selects everything that is in this collection. Now, it looks like there are some things that are exhaust pipes that are not in there currently. So let's take this and this and this, and let's hit the M key and move them into the exhaust pipes collection. And now let's see about this again. I'll select those again. Yeah, I think that's pretty good. Oh, it looks like these guys here aren't in there yet, so I will do that. And this is what I mean by cleaning up the collections. As we try and UV map, we're going to discover things that aren't in the proper place. So I'll select these again. And yeah, I think that looks pretty good. So there are a couple of ways to hide things or to isolate things. We've used the division key on the numpad, but this time I'm gonna come over here and Control. Click on the eye here in the outliner right here. That will then isolate that among the collections. Alright, so let's just take a look at this and see what we can do. Let's maybe begin. Let's begin with this one here, I will hit the period key to zoom in. And if we tab into edit mode, we can see here's our polygons. As I mentioned before, one of the things we're going to try and do is avoid stretching in our UV mapping. But we're also going to need to hide our seams because just like we cut a corner in that cereal box, we're going to have to find a place to cut on our 3D object to open it up and lay it out. But it's better if we hide that seem so people can't see it. So if we want to hide the same for this object, I'm going to come around here, the two key to go to Edge mode and then I'll just Alt click an edge back here where no one's ever going to see it. So then we can add a scene by pressing U, and this brings up the UV mapping menu. And we can mark the seam here. So now that we've done that, you can see we've got this red outline for that edge and that tells us there's a seam there. Now we'll just hit the, a key to select all the faces in that object. And let's press U and click unwrap. There we go. So now we've got a two-dimensional representation of this three-dimensional object. Now how do we know if we've UV mapped this with a minimum of stretching? Well, there are a couple of ways. One way is you can come over here to this little pull down and you can turn on display stretch. And whatever is blue or dark blue has no stretching. And you can see here it gets a little bit lighter. I think that's this area up here. We've got a bit of stretching there. But if I took one of these, just one of these UVs and hit the G key and pulled it out. You can see that as we stretch it, it gets farther and farther away from that blue. So that's one way to keep an eye on your stretching. The other way is to actually add a UV test patterns. So let's go ahead and do that. What I'm gonna do is come up here to this button here, you can see it says add a new material, I'll just click New. And here is a material for our object we've just added to this object that's selected. Let's give it a name. I will call it UV test material. And now we need to add a texture that has a test pattern to it. So to do that in here in this window, I'm going to press Shift a to bring up the Add menu. And let's add a texture, an image texture. And I'm going to just pull the mouse up here and click. There we go. Now, if we click on this New button here, we can create a new texture. So I'm going to call this UV test texture. And instead of a blank black texture, I'll click here and choose UV grid. And if we click Okay, we can see that here, right? We can see it underneath our UV map. Now if we come up here, I'm going to scroll the mouse wheel here to bring this over. If we come up here and choose viewport shading, we should be able to see our UV texture, but we can't. And that is because we have not yet connected the color here to the base color of the materials. So we need to connect the texture to the material. And there it is. Now we can see that UV texture. And our goal here is to have all of these squares, B square, right? So if I say took this here, I'll press Control and click. And let's come back over here. And if I took this and I hit G and I move this, you can see that as I do, these squares collapse or gets squished into rectangles. And we do not want that. The key to putting this test texture on your object is to try and make sure that all of these squares are actually square or as close as you can to it. So I'm going to press Control Z to undo that. And so what we've been able to do now is we've been able to UV map this object with a minimum of stretching and we've hidden the seam. You can see how the seam doesn't really line up the texture here. You can see that here. And so sometimes when you're adding a texture to something, you might see that seam if we put it in a place that's visible. Now, there are ways in Substance Painter to kind of help hide seems when we'll talk about that when we get there. But it's just a general good rule, a good practice to try and hide the seams right up front as we're UV mapping here. Alright, so that is my quick intro to UV mapping here. In the next video we will begin in earnest to actually UV map our exhaust pipes and the other objects in the other collections. 80. UV Mapping the Exhaust Pipes: Alright, continuing with our UV mapping, let's, let's work on this one here. This, you recall, is a separate object because we split that out. One thing I didn't mention in the previous video is that it's usually a good idea before you actually unwrap an object to make sure that the scale has been applied is all ones. And if we hit the End key, you can see that the scale isn't all ones on this particular object, but it is uniform. And that's really the key because it's uniform. This UV map came out looking pretty good, actually, fairly proportional to the object in the 3D view. But even though this is still uniform, I'm gonna go ahead and press Control a and apply the scale here, just so we have all ones, right, so let's take a look at this one. It is all ones That's good. Okay? So for this, what I will do is probably find an edge down here on the bottom like this, and add a scene here. I'll press U and mark seam. And then let's hit the a key, press U and choose. Unwrap. There we go. If we think this may be a bit off, we have actually two options here in the method pulled down here in the unwrapped settings. We have angle based here. That looks pretty good. But let's pull this down and choose conformal and see if it's any different. Well, you can see it kind of makes it a little bit curved there, so I don't know that that's the best way to go if we if we go back to angle based. Yeah, that looks a little bit better. But to make sure, let's go ahead and add that material. So with this selected, I'll come up here and instead of hitting New, I'll just pull this down so we can see the materials that we've already created. Select the UV test material. And there we go. Now we've got that added and that looks pretty good. So now that we've got this one and this one done, Let's come down here and do this. Once again, I'll just select an edge that we probably won't see. I'll hit you and Mark seem hit the a key. And then let's press U and unwrap. Now, did I have that scale applied? Let's see, I'll tab back into object mode and yeah, it's all ones. That's good. Alright, so we've got this. It looks a little wonky. Let me re unwrap this. So we get this panel again. I'll switch to conformal. Switch to angle based. I think this is a little bit better. We're getting some stretching on this rim up here. But I don't think that'll be a problem. Let's pull this down and select the UV test material. And there it is. Now, notice that each of these UV test patterns is a little bit different size. And that's okay if we never put these on the same UV map, but ultimately I think we're going to put everything in a collection all on one UV map and assign all of those objects in that collection. One material, we're going to assign all of these objects and exhaust pipes material in the end. Zoom out here and I'm just going to hit the X here because I don't like to see the UV test texture in this view. I'm just going to click the X here. All that does is just take it out of the view. It still exists here and it's still applied on our objects here. I just personally don't think it's useful to have it here. Alright, so let's move on to another object. How about this one here? This one is all ones That's good in the scale. Let's tab into edit mode. And we will probably never see the bottom of this. But we probably won't see the inside of it either. So let's do it on the inside. I'll press Alt and click this edge. This goes all the way through. This is a separate piece, so I'll Alt Shift click that. Now we've got that selected. Let's press U and mark seam. We go, Let's hit the a key. Oh, let's check. Oh yeah, we have all ones. That's good. Let's hit you and unwrap. Now that looks pretty good. Actually, we've got our piece down here, that's a separate piece as its own UV island. And then we've got all of this as one UV island. Let's switch from angle based to conformal. Like angle based a little bit better. So let's go with that. And then let's add that UV test material. Yeah, I think that looks pretty good. Those are pretty much square. That's good. How about this one over here? Let's take a look at this. I'm going to zoom in with the period key. I'll go ahead and apply the scale with control a. So we have all ones here. And this one, we may not be able to get away with just hiding a seam back here. In fact, you know what I'll do while I'm here. Maybe I'll grab a point and just pull this up a bit. You can do that. You can just make a few adjustments as you go. We probably don't really need to do this because, well, no one's ever going to see it, but I'll just go ahead and pull these up a bit just like this. And we could also select this and pull this in. That's probably the better way to go. Let's just do that. Okay, so now we have this. So it isn't pushing through to create a same for this. I think first of all, I'm just going to select an edge back here and let's just see if this works. Let's do a little test. Marcus, seen back here where no one's going to see. And then let's just hit the a key and edit mode, press U and unwrap. And let's take a look. Now that's not very pretty. And let's change it to conformal. That's still not very pretty, is it? Let's try something else. Let's try and add seam right here. Now, this is going to be seen, right? This seam will be seen from this side. But it may be the way we have to go. Sometimes it just has to be done and you can work with the tools in Substance Painter to try and hide the scene. But ultimately, sometimes you just can't help it. As I said, it's just a good rule of thumb to try and follow when you're UV mapping. I'm going to add a seam here. Now let's try it again. I'll hit a you unwrap. Yeah, that may be a little bit better. Let's try angle based. Still kinda wonky, isn't it? Let's add that UV test material and let's take a look at it. So you can really see that seem right there, right? But the squares look pretty good. You can see the seams here. That's fine. No one's going to see those. But I think this is probably okay. Once again, we're going to use a setting in substance painter called try planar projection. And I think that'll help take care of that. Alright, so let's now come over here and take a look at this one. I will tab into edit mode. And what are we going to do here? Well, I think if we're going to add an edge is probably going to want to be on the top and the bottom, because we're mainly going to see this from the side. So let's select an edge up here and mark a seam there. And that goes all the way in the inside two. And let's do that down here. Marcus seem. And then let's hit a U and unwrap. That didn't do very well. I don't like all of that. Let's look at conformal. Yeah, we've got too much connected here. I think we need to split something out along here. So let's take this and maybe this edge, this outer edge right here along the rim. And let's split this out. Let's create a seam there. And then let's select everything you and unwrap. And there we go. That looks a lot better. So let's try angle based conformal. Really not a big difference here. Let's go on the inside here and take a look. I'm going to hit the division key on the numpad and isolate just this piece. And let's maybe split it out along this edge here to you and Mark seem. And now let's hit the a key. You unwrap. There we go. Those look kinda nice. Yeah, So I'm going to choose this right here, the UVs select mode, which allows us to just click one and hit G and move it around. I just want to make sure they're not connected to each other. Yeah, that looks pretty good. And lastly, let's just take care of the screws. On the side of this, I'll hit the division key again. Let's take these two, I'm going to select these two objects and hit the Tab key. Oh, let's make sure we have them properly scaled. I'll press Control a and apply the scale. There we go. So now we have them both with all ones in the scale there. Now let's tab into edit mode. And for this, these are such tiny little things. We could probably use a different kind of UV unwrapping here that Blender has, it's more of an automated thing. So with these selected, we could press U. And instead of unwrap, let's try smart UV project. And this is just blender, trying to do its best to UV map it. It doesn't always work great. And actually manually adding seams and using the unwrapped is usually a lot better. But for these very small items, I'm just going to click Smart UV project. And then I'm going to use an island margin of say, 0.01. And then I'll click OK. And there we go. So it just basically tried to do the best it could with what it had. And UV unwrap that for us. And that's okay with two such very small items. I think this will be just fine. Alright, let's take this and add the test material to it. And let's take these, and let's do the same. I'll go ahead and add this one here, and there we go. So now we've got all of this UV mapped. The problem is, is if we hit the a key to select all of that tab into edit mode and hit the a key to select all the polygons. Look at this. Our UV map is a mess. All the UV islands are one on top of the other. And they're not proportional to the size that they are here in the 3D view. Because look at this. Here is one of the screws. And then here, one of the pipes. They're not proportional in size to the way they are out here. In the next video, we're going to work on cleaning up and arranging our UV map. 81. Beginning the UV Map of the Fenders: Now let's see if we can organize our UV map a little bit better. I'm going to select everything over here with the a key and then tab into edit mode. And then let's select all the polygons with the a key. And now we can see our UV map here. And as I said, it's just a jumble. We can't have overlapping UVs at all really ever. So this just isn't going to work. Now, we could, I'm going to press Control and Spacebar. We could come in here, turn on our UV select tool here, begin clicking and hitting G and moving these out and then rearranging them within the zero to one space. Now what do I mean when I say the zero to one space? Well, it's this square here. And really this square here is the only thing that is seen by other programs outside of Blender. Now there are exceptions to that, but generally speaking, it's a good idea to keep all of your UV islands within this zero to one space. Why do I call it zero to one? If I hit the End key and come over here to view. Here's the 2D cursor, which is very similar of course to the 3D cursor in the 3D view. But the 2D cursor is currently at 0.0. If we take the y to one, it pops up here. If we take the x21, it pops up here. So really this is just a graph 0-1, and that's why I call it the zero to one space. So the key is to get all of our UV islands into the zero to one space without overlapping. And as I said, we could do this manually. We could select these and move them out and then scale them down and turn them and get them in place in here. And frankly, that's the way we used to do it and it can get kind of old. What we can do instead is just hit the, a key to select all of the UV islands. And then we can come over here to the UV menu and do two things. First of all, we can average the island scale for all of the islands, for all of the UV islands. So they are proportionally a similar size to the way they are here in the 3D view. And then we can pack the islands into that zero to one space. So let's give that a try. We have all the islands selected here. So I'll click UV and choose average island scale. Now you can see that the really small things got really small and the really big things they got big. So that's good now, everything is in proportion. Now with everything still selected, I'm gonna come over here and go to UV and pack islands. There we go. Now, I'm going to twirl this up and make sure I have some sort of a margin here. We need it to be 0.01, 0.001. We need it to be something because you need to have a little bit of a margin between each of the UV islands. Now we could also try and turn off the rotate here. And that does that. Sometimes you're going to need to use this, but for this particular group of objects were pretty much all going to be putting a chrome material on these. So the direction of the UV Ireland really isn't going to be a concern. It's a concern when you're dealing with things like wood grain. And you want the different pieces that your UV mapping to have the wood grain go in a similar direction. That's when you would really want to be sure that they're all turned and rotated in a similar way. But for right now, I think that's pretty good, that, that I think will work. Let's tab back into object mode. I'm gonna go ahead and save my scene since we've completed a bit here. And then I'm going to press Control and click that icon. And let's see what else we can do. Well, what about the fenders here? Let's see if we can work on the fenders. I'm going to go back to the solid viewport shading just for a moment. I feel like it's a little easier to see what I'm doing here. So let's just choose all the vendors. In fact, what Let's do is go to the outliner and right-click the fenders collection and choose Select objects. So if I hid everything in this collection, what would we have that still remaining? That should be in that collection. Like if I hit this here, what else should be in there? Well, it looks like these things should be in there, right? Those are kinda hanging out. Let's grab those and hit the M key and put those in the vendor collection. And what about this? Oh, that's the little hinge part on the fender. Let's put that in there. Because in the fenders collection. What about over here? Let's enable it and then take it away. Yeah, it looks like everything that I want to go in there is in there for that. Alright, let's go take a look at the front here. Just select this and hit the period key to zoom in. What do we have here? Let's hide that fenders collection. And yeah, there's a couple of things still hanging out here, right? Let's get these into that collection. Okay, and what about over here? Anything here? No, That looks pretty good. That looks like That's everything we need there. Alright, so I'm going to select the vendors and right-click choose, Select objects. Let's take one last look. Yeah, I've got the tail light in here too. I think that's okay. Alright, so let's go ahead and do that. Control and click the icon there. And there we go. What have we got here? I don't think we need this in here, Dewey, Let's put this back. Where is this? This can go on the wheels and spokes. I think let's do that. I'll just press the M key and put this in the tires and wheels collection. We go, okay, now let's try again. Control click this. Now, do we have everything that we want in the fenders collection? Yeah, I think we've got everything. Okay, good. So now let's begin working on these. I think let's begin say with this vendor up here. I'll just select it and hit the division key. And let's tab into edit mode and take a look at it. So I've added a solidify modifier to this so it has some thickness to it. And I think we want to split it out. I'm going to select these edges here all the way around. Alt, click on this and Alt Shift click all this. There we go. So now hit you and Mark seem. Now let's just try this. I'll tap into object mode and let's check the scale. Yeah, those are all ones. Okay. Tab back into edit mode, hit the a key EU, and unwrap. And there we go. What do you think? I think that looks pretty good actually. Let's add that UV test material and go over here to the material preview. And there we go. Yeah, I think that's pretty good. Alright, let's hit the division key and do that again. Let's try it with these. The division key tab into edit mode. I'll go back to Solid View. I kinda like that. And then let's just Alt click all of these edges here. Get this one. But I got the wrong one here. Control Z. I'll shift. Click. There we go. You and Mark seem, oh, let's go back and make sure it's all ones. It's not quite. Let's press Control a and apply the scale. There we go. Now this one, I'm gonna just gonna do the outside edges on this one as well. There's bat and this, you end mark seam at the a key you and unwrap. Let's triangle based. Yeah, I kinda like that a little bit better. Okay, so let's add our UV test material. We can see it here. The division key. There we go. Now for these down here, these are smaller, a little more complex like this here. And these all of these we may be able to do with smart UV project. Why don't we give it a try? Let's select all of these, this, this, each of these objects here. Let's go ahead and press Control a and apply the scale. And then if we tab into edit mode, hit the a key. Let's try and use smart UV project and see what it does. Oh, I'll be sure and put an island of margin in here. Let's do 0.01. Let's do that. And then click Okay. Alright, It's not terrible. It's got a lot of little tiny pieces in here, but those are very tiny pieces, so I don't know that that's really a bad thing. Let's come over here and do the same thing on this side. Let's select all these pieces. Let's go ahead and press Control a and apply the scale. I need this one too. Okay. And then let's tab into edit mode. Hit the a key, you and smart UV project. Alright, we've still got our 0.01 island margin there. That's good. Alright. Yeah, I think that'll work. Let's now just add that test material. Let's take a look at it over here. Now it's only been added to this one. And this is an interesting thing about Blender. It's hard to add materials to multiple objects at once. But what you can do is link a material to other ones. So what we need to do is ensure that the object that has the material is the active object in the selection. So the active item in the selection is usually a slightly different color than all the rest. You can see that here. And if I Shift-click this to undo it, and then Shift-click it again. You can see that's that color. And it's usually the last item selected in a selected group. So like this piece, I could shift click this, and now this has become the active item, the active element because it's been selected last. So actually I want the one with the material on it to be the act of elements. So I'll shift click this. Now, we've got it there. Because when you link a material, you link the multiple objects that you've selected to the material on the active element, the act of item. So with all of these selected and this object with the material on it as the active element. Let's press Control L. And then we can link our data, the materials like this. So that adds the material to all of those, right? Okay, so let's do that over here. I will press Shift Z to go to wireframe and then drag select all of these. Now press Shift C to go back. And if you look at this, we don't really have an active element. If we wanted to, we could shift click this and turn that into the active element, but it doesn't have the material on it. So let's add, say, this one over here. Now, this is the act of one and it has the material on it. So we can press Control L and Lincoln materials. And that adds the material to those objects. Alright, in the next video, we'll finish up the fenders. 82. Finishing the UVs of the Fenders: Let's now see if we can finish up the vendors over here. So I will go back to the solid view and press Alt Z to turn off x-ray. And let's hit the division key tab into edit mode. And let's just select some edges all the way around on the outside here. And over here maybe. And then let's add our seams. Ensure that we've got all ones. Hit the a key you and unwrap. Let's try conformal. Yeah, that looks a little bit better. And now let's hit the division key and let's try it with these same thing. I will select those outside edges all the way around you and Mark scene. And these as well. Down here. You and Mark seem okay. Now let's try it. Let's select everything you and unwrap this triangle based. Let's try conformal. I like conformal. Let's do that. Alright, the division key again. And let's do this. We'll select those outside edges again. Just because that seems to be working pretty well. Let's hit you and add the seams, select everything you and unwrap. Alright, That's not bad. Let's try this one here, the division key, just so we can isolate it. Take a look at it a little easier. Grab these and mark seams. And then we'll grab these here. And up here and mark seams there. Alright, let's select everything you and unwrap. And that's good. I like it. The division key. Now let's take a look at this guy right here. Let's hit the division key here. And I've got this, so it's just really two pieces. We may be able just to take an edge here like this edge. Or maybe this one on the inside. Here we go. Let's do that right in here. Let's just mark a seam here. Hit the a key you, and unwrap. I think that it'd be fine. Let's try angle based. Let's try conformal. Really not seeing a whole lot of difference there. Let's go ahead and add that test material here. And let's take a look at it. Yeah, I think that's I think that's fine. Let's hit the division key and let's try this guy here. For this one, I think we may need to split it out inside here. So I'm just going to select an edge right in here and mark a seam there. And that will split that out. Let's also mark a seam in the back here, so it splits out the back part like that. And then I really want to separate this part out so it lays out flat instead of in a circle. Well, let me show you what I mean. If I hit the a key and you, and unwrap, you can see that this part here is still a circle. I think this is it here. We can check that by turning this on right here, this UV sinks selection. Turn that on, select this or hit the L key, I should say. And there we go. That's that ring there. Now this is just a temporary thing. Be sure and turn this off before we move on. I'll hit the a key again so we can see all that. And what I wanna do is instead of have this being a ring, I want to lay it out flat. So I'll need to create a seem, maybe write down here to do that. Now I need to de-select all of this. Let's press Alt Z and then I'm gonna hit the C key and middle mouse button, click and drag to deselect these edges. Let's see what else we have in here. Do we need to do that anymore? Yeah, I think we need to do that one right here. And it looks like We're going beyond that seam here. So let's de-select those and now we'll just hit you and Mark scene. And so we've just created a scene from one seam here to the other seam there. And that will just hopefully split that ring out into a flat piece. Let's see how we do. I'll hit you and unwrap. And yeah, there it is. Let's try angle based. There we go. So that's a little bit better. I think that lays a little nicer there. What about this guy right here, just that little cylinder that we're going to call a hinge. We can tab into edit mode, hit the a key and take a look at it. And you know what? That's probably just fine. That's the UV map that came with the cylinder that I created originally. When working on this object, we tab into edit mode. We can go ahead and apply the scale here. But frankly, there's really not much reason to do anything else besides that. So I'm just going to leave that as it is. And sometimes you can do that. Alright, let's take these here, all of these pieces. Once again, I'll take all of these two. Let's just do them all at once. Now that we know we're going to use smart UV project, let's just grab all of them. I'll press Control a and apply the scale and that should do it for all of them. However, look at what happened here. Look at what happened. Let me press Control a again. Look at what happened when I applied the scale. Control a. Apply the scale. Look at that. Why is it doing that? Because I haven't applied a modifier here yet. I bet. Let's go to the modifiers panel and sure enough, look at that. I still have modifiers on this. What about these here? Now? What about this over here? Yeah. So we've got modifiers on these two objects. We need to clean this up. And once again, I might not have found that had we not been UV mapping, right? So let's go ahead and come over here, apply our subdivision here, and then apply our solidify. Let's go ahead and smooth it. Come over here into the object data properties and we can drag the normals up a bit to smooth out the sides. Here. There we go. Okay, let's do that over here. Let's add the subdivision, add this, solidify, smooth. And to try and get rid of that block Enos there, let's just drag this up. And that helps I think with those there. Alright, now, let's give it another try. I'm going to save my scene. And let's select all of these objects now. And I'll go ahead and select all of these over here. So now with all of these selected, let's press U and smart UV project. And our island margin is 0.01. That's good. Let's click. Okay. So that's not great. I think maybe we've got, yeah, we didn't I didn't apply the scale for all of these, so let's do that. Let's apply the scale here. Let's press Control a and apply the scale. Okay, so now everything should have all ones. Now let's try that again. I'm going to try and select all of these. And then let's tab into edit mode. It you and smart UV project. There we go. That's a little bit better. I was just seeing that the bolts were so much bigger than everything else. So it made me wonder about the scale. Now once again, we've got lots of little tiny things in here. And I think that's gonna be okay. Because what we're gonna do is we're going to combine all of this together. So we're going to hit the a key here, tab into edit mode, select everything and we've got our jumbled mess over here, right? Let's hit the a key, UV, average island scale, UV and pack islands. And there we go. Now let's make sure we've got 0.01 for the margin. Good. We can turn off the rotate and try that if we wanted. But in this one, all of the vendors are going in the same direction and that may be a good way to go. Alright, so let's tap back into object mode and let's add a material to these objects as well. I'm going to press Shift Z so I can drag, select all of this and select everything. And also this one here. And then I will shift select something, some object with the material on it, press Control L and link materials. And there we go. I think we have everything UV mapped for the fenders. What's come up here and press Control and click that icon there. So now we can see what we've used the mat and what we haven't. And this is our process. We're going to go through collection by Collection, try and clean it up, organize it, and then UV map it, and move on to the next one. So in the next video, we'll keep moving forward. 83. UV Mapping the Chassis: Alright, well we've kind of established a process here of UV mapping our collections and putting the test texture on so we can see what we've UV mapped and what we haven't. Let's just continue on from the top of the list here. For the chassis, I'll just Control and click this so we can see what it is. Now, it looks like there's some extra pieces in here. And these I think maybe these I'll put in the front fork collection here. I'll just press the M key and find front fork. And then you do have to come over here and go ahead and select it here. You can't just select Front fork here and have it drop in there. So you have to come over here and select it there, and that pushes it into that other collection. Now this one, let's put this in the cables one. Where is that? Here we go. Cables and tubes right down here. Alright, so now we've got just what we want for the chassis. This down here is holding the exhaust pipe, but it's kinda connected to this. So I'll go ahead and go with it here. Let's just hit the a key, select everything in object mode and press Control a and apply the scale. And that should apply the scale for all the pieces that were selected. Then let's just, let's just begin here. So for this, I think it's just complicated enough for us to just use smart UV project. I'll hit the division key so we can isolate it. Tab into edit mode, hit the a key. And smart UV project. And I do need to add an island margin here, so I'll type in 0.01 and let's click Okay. And yeah, that looks fine. I think let's add that test material. Switch to our material preview. And there we go. That looks okay. I think that'll be fine. It's just gonna be a dark metal colors. So I don t think there's gonna be a lot of detail there to see seams and things like that. I think that'll be fine. For the next piece. How about let's just take a look at this. I will tab into edit mode, and let's hide a siem under here and select all of this you and unwrap. That looks fine. If that division key, Let's find something else. How about this? Let's maybe hide a seam back here. You mark scheme and maybe let's do one right in here to break this off. Mark a seam there. A you unwrapped. Yep. I think that'll work. What's next? How about no, We just did that. We did that. Well, let's take a look at this here. This one's pretty simple. In fact, it may even be something that we could just leave. Just like that. That probably wouldn't be a problem, but we really don't need the faces on either end because they're being hidden away. Let's hit the division key. And why don't we just delete these here, get rid of these, because we don't want extra faces if we aren't gonna be seeing them. And then while we're here, let's go ahead and mark a seam and just use the unwrapped function for that. There we go. All right, how about this here? Let's take a look at this. I'll hit the division key. And let's just select two edges down here where they won't be seen and mark those and unwrap those. We do have an island margin here. It's just looking kinda close. Yeah, I think that'll be fine. Okay. And in addition, we're going to be selecting everything and putting it all into one UV map. And we can adjust the island margin then for this one, let's take a look at this. Hit the division key. I'll go ahead and add a seam on the bottom here where nobody can see it. And then let's unwrap. That looks good. And these, Let's take a look at these division key. Once again, let's select edges down here. You mark seam and unwrap. Okay, we got those. And what about these things over here? Well, if we select this, look at this, it's got a mirror on it. So does this, but so does this and so does this. So this is a problem. It appears that the origin for each of these is at the center of the geometry instead of in the center of the grid here. And so if we apply these mirror modifier is we'd have duplicate faces, duplicate vertices, one on top of the other. So we don't want that. I don't really know how I did this, but it is something to keep an eye on sometimes, because this can really multiply your polygons in your scene pretty quickly. So let's just take away the mirror modifier for each one of these. Let's just do that. Once again, UV mapping can really help you find all of those little issues that you have in your scene. I'm gonna go ahead and just take all of these tab into edit mode, hit the a key press U and smart UV project. All of these, since they're pretty small, I'll just go ahead and do that. And then let's deal with these here. Let's once again just select all of these, like this. Tab into edit mode, hit the a key and once again, use smart UV project. There we go. Alright, so now that we've got all of that, let's go ahead and hit the a key in object mode, tab into edit mode, hit the a key to select everything. A key over here in the UV editor. And now let's average Ireland scale and pack islands. And that didn't quite do what we'd hope to do. I really wanted it to fill the zero to one space a little bit better than that. So what should we do here? We're really not using the space efficiently here. I think what let's do, I'm going to press Control and spacebar so we can see this a little bit better. And I think what I'm gonna do is scale this area up. So it fills all of this while keeping these the way they are. And even though they won't be exactly proportional, I think it'll be okay because once again, we're gonna be putting just a black metal material on all of this. There's not gonna be a whole lot of detail in the texture to give us a cue that these are somehow different. So with this selected here, I'm just going to click on these to hit the G key and move them aside. Drag, select all of these, and let's scale these up and get them kind of in this area right in here. And then I'll select these two, hit the G key and move these back. Maybe scale them down so they'll fit in there just a little bit better. Yes. So that I think uses the space a little bit more efficiently, even though they're not all exactly proportional to the way they are in a 3D view. And you can do that. I mean, you can make a lot of decisions as you go here based on what you know is gonna be on it in the texturing. So as I said, because this is going to be a pretty uniform material over all of this. I don t think having it be slightly off in proportion is gonna be a problem. Let's go ahead and add the material here. I'll just shift click that to make that the active element. And then I'll press Control L and link materials. And there we go. And you can see here that the squares here a little bit bigger than the squares everywhere else. As I said, I don't think it'll be that big of an issue. Alright, so let's press Control and click that. And now we've got our chassis done. So in the next video, let's work on the tires and wheels collection. 84. UV Mapping the Wheels and Tires: For the next collection, this tires and wheels. Let's see what we have here. I'm going to press Control and click the eye icon up. Wrong one. Let's try that again. Here we go. So is this everything we want in here? I don't think we want these. Let me press Control and click that again. Yeah, I think I'd kind of like these to be with that chain and accessories here. So let's just click here again and I'll take these two and just hit the M key and put these in chain and accessories. And keep in mind, this is all pretty arbitrary. You don't have to do it the way I'm doing it. I'm just using all of these collections to try and organize this in my head. If you've got a better system or a system that works for you, please go with that. I'm just trying to show that being organized can really help however you organize it. Let me come back here and I want to ensure that this piece right here is with the tires and wheels. Let me see. No, it is not. So I'm going to press the N key and move the head in here. I want to bring that went along. And let's try it again here. What else do we have here? Do I want this to come with it when I don't have this in it, I don't think so. I want to keep these together so I can work on the textures there at the same time in Substance Painter. So either I should have this in the other collection or have the other one in this collection. Well, let's bring it into here. Let's do that. I'm going to take all of this and let's just bring this into here. So I'm going to grab all of this. And maybe this looks like this could go in there, although that might have, should have gone with the vendors, but we can bring that into here. Alright, so I will hit the M key and bring it into the tires and wheels. And I'll leave this part and this with the chain. Let's do that. Control clicks. And so now we've got this and this over here. Okay, what about up here? Let's take a look. We've got these and these. Let's control-click here. Well, I do want to bring this in. Let's do that. M, tires and wheels and probably this as well. Let's go ahead and bring all of this and I'll select all of this. This could probably work in this tires and wheels collection. Alright, I've selected all of those. I'm going to move those M tires and wheels now let's see what we have here. Is that everything we want, but I'm going to do is just hide it here. Now let's see if there's anything else that we want to push into it. No, I think that's pretty good. Everything else I think has a place. Okay, so I'm gonna bring this collection back, control-click. And here we go. Let's select everything, press Control a and apply the scale to everything in this collection. Then let's think about one of these tires. So if I tab that into edit mode, we get not only the tire here, but also all the treads. So I think I want a UV map these two individually, the tire part and the treads. First of all, let's add a seam here. The reason why I'm adding a seam here is because it's hidden away. If we control-click this, you can see it's kind of hidden away in that vendor area. You can see it just a bit there. But it's generally speaking pretty hidden away. And so let's then hit the L key to select just that piece and press U and unwrap. And let's see how that goes. Okay, that's angle based and that's conformal. Well, that's not good. Let's try angle based. And that's not great. And I think it's because it's such a long piece. Let's maybe add another edge right here, or seem I should say, and let's do that. Hit the L key, you and unwrap. Yeah, I think that looks a little bit better. And in fact, conformal works out pretty well. We've got a margin of 0.01. That's good. So now let's think about the tire treads. To select those, Let's just press Control I and invert the selection. If we come up here, you can see under select, Invert is Control I or Control I. And now we just have the treads. And since there's no back face to any of this, I think I can just hit the U key and use unwrap. Let's try that. Yeah, that just splits them all out individually. Alright, so now let's just select everything. Hit the a key over here. Uv average islands scale UV pack islands. And there we go. Alright, well let's try that. I'll go ahead and add that material to it here. And then if we switch to material preview, we can see it there. Now, do we want to go through the whole process of UV mapping this tire again? Or do we just want to duplicate this over? I vote for duplicating. Let's just select this and press Shift S to move the cursor there. Hit Delete, select this shift D to duplicate, and then shift us eight to pop that over here. I always a lot easier, right? So now let's think about the wheel. Hit the division key, and zoom into this. Let's take this one piece at a time again, just the way we did. Let's select an edge here and an edge here. And let's put seems there. Then let's hit the L key you and unwrap those. How about angle based? And that's not too bad. Let's try that. Then. Let's come in here and let's just hit L and L and select these. And then let's isolate these. I don't know that we can use the division key on this because that'll just pop it back. We're going to have to hide it or hide everything that isn't selected. So if you come up here to mesh and then Show Hide, you can see that hide is H, hide the selected objects. Hide unselected is Shift H and reveal is Alt H. So what I wanna do is hide the unselected. I'm going to press Shift H, and here we go. So that allowed us to isolate that. Let's just select some edges here. Maybe I will select this edge and this edge and add a seam here. And then just select all of these and unwrap them. And that's what we get. Yeah, that'll work there. Now recall to unhide is Alt H. There we go. So we've got this part and these pieces UV mapped. Let's now do the spokes. And to do that, we can just use our control. I trick again. Select this, this and this press Control I. And here we go. For these. I think we're just going to need to use smart UV project because they're so small and pretty complicated. Let's just do that. There it is. Now, I know that's a whole lot. But once again, we're just going to be putting a very simple uniform texture on that. I don't think that'll be a problem. We will see some of this is actually kinda testing and seeing what's going to work. Alright, so let's hit the division key to bring everything else back. And so we have this. I'll shift click this, and then let's press Control L and link materials. And there we go. So now we've got that UV mapped. And what we can do too is we could average Ireland scale and pack islands here. Let's do that. I'll select all of them over here. Average islands scale and pack islands. And there we go. Alright, now, same thing over here. Do we want to do it again? No. I'm going to press Shift S two, delete, select this shift D Enter and shift us eight. And there we go. So to finish this up, Let's do is take all of these here, the ones that we've UV mapped. And let's hide them with the H key here. And now we have just these. So with these, Let's now just select everything. And then we can tab into edit mode. And we're not tapping into edit mode. And that's an interesting thing about selecting all of these at once like this, you need an active element to be able to then tab into edit mode. So let's try it again. There we go. So sometimes if you have a selection of objects with no active element, you can't have into edit mode for all of them. I'll hit the a key, you and smart UV project. And okay, there we go. Now, the way I've done this, let me press Alt H to bring those back. The way I've done this, I've put these in separate uv maps, right? So this one is here, this one is here, and these are in their own, right. So we're going to have to remember that in here. We're going to have to assign individual materials because each material in here is going to be a texture set in Substance Painter. And in substance painter. Every texture set gets its own collection of texture maps. And I promised that will make more sense as we move forward. But I'm going to just go ahead and hit the a key here, Shift-click this, and then Control L and link materials for all of this. So as I said, we're going to need to probably do at least two or three materials for this particular collection. Because I don t think I want to add all of these little tiny pieces into the UV maps for these as well. Because we've got so many tiny pieces here. And we've got so many tiny pieces here. I don't want to then let me just select these control. I Shift-click one of these tab into edit mode and select all of these. I don't want to also add all of these tiny pieces to the UV maps with these other tiny pieces. So we need to remember to make these individual materials. I'll make a note of it and will hopefully remember that. Alright, let's Control click this. We've already done the vendors in the next video, let's work on the handlebars. 85. UV Mapping the Horn and Handlebars: Alright, let's take a look at the handlebars. I will right-click and choose, Select objects and I'll hit the period key and zoom in. And let's see if they're all where they're supposed to be. Well, it looks like we've got a piece down here and a piece up here that probably shouldn't be in the handlebar collection. And I'm also going to keep the brake lever here in its own collection. So let's come up here and press Control and click that icon. And this one, I think needs to go in with the born. Let's do that. Select that m. I'll put that in the horn. And then Wasn't there another one? Let's see. Oh, no. Yeah. That was with the horn. And then this up here, this one here should be with the headlight. Let's hit em and put that with the headlight. There we go. Now let's try that again. I will come up here, Control click. And yeah, I think that's pretty good. Alright, so for these, Let's begin with the handlebars or these pieces right here. Actually, no, let's hit the a key and press Control a and apply the scale. Then we can work on this tab into edit mode here. I will select, say, an edge down here and an edge down here. Marcus, seem you and unwrap. Good. That looks okay to me. How about these here? Well, we do want to do both of these, but do we want to actually do the work to do both of them or just mirror it over to the other side. Why don't we tab into edit mode, and I will hover over this and hit the L key. And let's just delete all the faces here. And then let's just work on this. And then we'll mirrored over and apply the mirror when we're done. Alright, so I'll hit the division key. Let's select an edge here. I think we will have to split these outlets, add a seam here. And we'll want to add a seam in here. And maybe in here as well. Then connect these two. So it lays that cylinder out flat. Like that. We've got a cylinder here that we should probably connect these. So I will take, say this edge and control-click and control-click down to here. Is that the where? Actually, I'll do it over here. I want to do it along here like this. Between those two. It looks like we need one more. You end mark seams so we connect those two seems there. And then similar thing here. We need to break this off and then connect these. So I'll select this and control-click here. And Marcus seem there. Alright, so let's see how this works. I'll hit the a key you and unwrap. And if we go to conformal, not much of a difference there. I think that's fine. Yeah, I think that'll work. So let's tab into edit mode. Hit the division key. I'll take this looks like the origin of that object is really close to the center of the grid, but not quite. So I'm going to press Shift S1 to move the cursor there, and then go to Set Origin and origin to 3D cursor. There we go. Now let's add a mirror and then let's apply it. And there we go. So currently if we tab into edit mode, these two are one on top of each other here in the UV editor. Because when you mirror things over, they just stack up over here. So if I select this and hit G, you can see there's the mirrored one underneath. So ultimately those will all be split out once we average island scale and then pack islands. Alright, let's take a look at this piece here. Let's hit the division key. And this is, wow, this is a lot of polygons. Alright, Well let's just Alt click here. Maybe alt click, Alt, Shift click here to split these out. And we could just try smart UV project, but I don t know that we're going to get something very good out of this with it being so dense. So I'm gonna go ahead and mark seams here. Let's then connect these two seams up here. Since this is kind of like a cylinder all the way around, we're just going to flatten that out. And then once again, we do have cylinders here. So let's take this and let's try and wow, there's a lot there. So I think what I'm gonna do is press Alt and click that. So we get that edge all the way down. And then I'll press the C key and middle mouse button click and drag to de-select it. I just feel like it'd be easier to de-select these. Let's hit the C key again and go to there. We go. And mark seams. And let's give this a try. Hey, you unwrap. Yeah, I think that'll work. Let's tap back into object mode, hit the division key. And now for these little guys, Let's grab all of these tiny pieces here. Oh, and this right here. Let's do that. And then let's hit the division key, tab into edit mode. Hit the a key, you and smart UV project. There we go. Alright, so now if we select all of this tab into edit mode, we can come over here, hit the a key. Let's average island scale and pack Island. And yeah, I think that'll work. Alright, so let's also add that material just to make sure to come over here. There we go. Then I'll hit the a key, Control L. And Lincoln materials. There we go. Alright, let's Control click this. We now have the handlebars. While we're here. Let's go ahead and work on this headlight. Or we could do the horn, actually, the next one in the list is the horns. So I'll do that. Let's Control. Click this. This. Do we want these? Where do these go? I wonder, Let's take a look. So it looks like this. And this, those could all go into the front fork here, into this collection. So let's press M and click here for front fork. And now let's just isolate the horn. And yeah, I think that's good. So for this, let's hit the a key, Control a and apply the scale. And let's just try smart UV project for everything here. And let's just try it and I'll hit the a key, Shift-click one of them, tab into edit mode, hit the a key again. And here we go. Smart UV project. Okay? Well it's got a lot of these rings here. They're just taking up a lot of space and I don't think they need to do that. So let's see what we can do with that. I think it may. Let's tab into edit mode here. This has a few. So let's just take these two, hit the division key. And maybe if I take this one, I'll press Shift H. And let's just maybe isolate this year to end this. Now how about this one right here? Let's do that. Let's add a siem. There are seams here. And then I'll select this edge and try and connect these up. Control-click here. So we connect those up. And let's see how that works for us. A, you unwrap. Yeah, that's a lot better. Okay, so now let's press Alt H and bring this back, and then I'll press Shift H and then isolate that. Now for this one, what do we have going on here? We've got a couple of rings. Can we cut down on the rings if we break this out on its own? So let's take it to here, right? Mark the seam and then select this control-click and add this connect these two seams up here. Does that help us any, let's see, I'm going to press the L key and I know that selects everything. But if you look down here in this, we can choose to delimit that selection by the seams. So if I click this, now we only select that area within the seam and that's the area that I want to UV map currently, because I'm going to use the unwrapped tool instead of smart UV project. See if I can clean some of this up. I'll press you, unwrap. And there we go. So that took a couple of those circles and laid them out flat. Now we can then press Control. I and I better actually do this with faces instead of edges. Let me do that. I'll hit the three key. Yeah, and I'll press Alt Shift and click that so we get everything. Well, let's do that again. Let me press the L key here to grab everything and then make sure we're in face mode. And then press Control I. And there we go. Now we get everything. All right. Now let's just use smart UV project. And okay, Alright, that's a little bit better. We're still getting one of these circles and I think that's this piece right in here. But I'm okay with that. I can live with it. So let's press a and then a over here. And let's just see how this works. Yeah, I think that'll be fine. And once we pack islands for all of this, it will use up the space a little more efficiently. Alright, so let's press Alt H and then the division key. And let's see how we've done here and hit the a key tab into edit mode. Let's select everything. Yeah, okay, So now let's select everything over here. And now let's once again average island scale and pack islands and see how we do here. I think that's okay. Once again, we've got a lot of little tiny pieces. And that's because it's breaking up this piece that we used a Boolean modifier on. But once again, that's gonna be a solid chrome color. So I don't know that all the little small pieces is going to really hurt us. Alright, let's give that a try. I'll select one of these and add the material. And let's come over here, turn that on and then I'll hit the a key to select everything else, Control L and link materials. And there we go. Alright, we are moving right along. In the next video, Let's continue on down the list. 86. UV Mapping the Headlight and Gas Tank: Alright, it looks like the next one up is the headlight. Let's Control click this and see what we have in here. I will take a look around and see if we have everything that we need. I think this is everything. Let's Control click this again. I'll select everything in here. Select objects. Yeah, I think that's reasonable. Let's do that. Control-click the headlight collection. And so let's just select everything and press Control a and apply the scale. And then this piece here, I believe this is just a single-sided piece. Yes, it is. Let's just tab into edit mode, select everything, and press U and unwrap. And then we go, Yeah, that looks good. Hit the division key. And let's work on this one here. For this, I think we could probably add a seam right here. If I go to Edge mode, there we go. Alt, click that you and Mark seem there. And then we want to split it out. We're gonna get kind of a cylinder here. If I hit the L key and then choose seem, we can see what we're going to get. But I think I need to add a seam down here. Let's say this. Yeah, Right there. Press U and Mark seen. Just so we split that out and it lays flat. So let's try this. Let's hit the a key you and unwrap. And I'm wondering how this is going to go. It's just all kind of a light blue. I'm wondering if it's got a little too much stretching on it. So let's go ahead and add that material here, and we'll go to our material preview and look at that. It's got the squares are pretty big on the back and they get smaller as we move up in there, kinda curves. So even though that's gonna be a single uniform material there, I may want to try just adding another edge in here. Maybe I'll just grab this and Control click this and put a seam here on the bottom of the headlight. Let's try that. Okay, let's just see if that helps. Split that open a bit. You unwrap. Now let's look at a square so they aren't quite as big here and they don't curve quite as much. You can see we've still got a bit of a curve there. And we've got a scene here on the bottom. So it really could be six of one half dozen of the other in that it may not matter a whole lot, but let's go with this. I think that looks pretty good. Let's hit the division key. I'll select this Shift-click that press Control L and link the materials so we can see that there. Then for these pieces, I think we could probably just tab into edit mode, select everything and use smart UV project for that. Now, I don't have an island margin here. We could add that in, but honestly, we're just going to pack all this together anyway. So let me just hit the, a key tab into edit mode will hit the a key again. And it's well over here in the UV editor. Let's average island scale will pack islands and here is where we can add that island margin for us here. Alright, I think that's probably going to work. Let's press Control L and link materials. I'll select this one first and then hit the a key Control L, link materials. And there we go. Okay, now let's Control click this and I want to go back to a thing that we were working on before with the handlebars and I think this one right here. Do you remember this piece? Look at this. This still has a modifier on it. And so this would not export to anywhere else like substance painter, very well at all. We just get a flat polygon there. So let's apply this. I'm going to click apply. And let's redo this. Let's come back over here to the handlebars control click here. And I just want to UV map this and then insert it into the existing UV map for all the rest. So if I tab into edit mode here, select everything for this and press U and smart UV project. Oh, and you know what we ought to do to, before I do that is ensured that this is all ones and it is. Okay, That's good. So now let's tab into edit mode, you and smart UV project. Alright, so There's this, I'm going to hit G and move this out of the way. And then let's go ahead and hit the a key tab into edit mode, select everything. And now we need to take this UV map and insert it into the existing UV map. Now, we could, I guess if you wanted re UV map, this whole thing, but there were some things that were mapped with the unwrapped tool like these. And then there were some that we just used smart UV project. And so we'd have to go back and redo those in the same way. And I'm not sure I want to really spend the time to do that. So what I'm gonna do is just take these. Scale them down. And let's find a place where we can put these. How about right in here? I'll hit G, move this in. Let's hit the S key and scale that in a bit. And let's just put that right in here. Right? I think that'll be just fine. Get really usually doesn't matter where you put things. As long as once you put them there, you don't move them, right? So we can't get this all UV mapped, take it into Substance Painter, do our texturing and then come back and change this because Substance Painter is going to use this UV map to put the textures for each individual piece. So if it puts the texture for this right here and we move it, the texture is still gonna be in the same place. There's gonna be a problem with our textures on our model. So just keep that in mind. It doesn't matter very much where you put things on a UV map, as long as once you put them there, they stay there. I'm going to press Control and click this. So now let's look at the next item, which is the gas tank. So I'll select everything in the gas tank. Let's take a look at it. I think that's right. Let's go ahead and press Control and click here. Alright, let's now take a look at what needs to be done here. I think for these small pieces here, we could just use smart UV project. Let's do that. Oh, before we do anything though, Control a and apply the scale, then let's select these three pieces. Tab into edit mode, you and smart UV project. Alright, so we have those. Now what about this? Let's hit the division key and let's see what we wanna do. I think I want to split it down the middle like this. So I'll go ahead and add a seam here. And then in here we don't really have, hey, center edge that we can continue this in. So I think what I'm gonna do is Alt click these and this edge, and this edge and kinda split these out. Now I need this one here and it looks like when I selected those because this is a Boolean cut, the edges are a little bit strange, so I'm going to have to shift click these to de-select those and let's see if we have any on the top. Oh, I missed one here. Now I think we're good there. I'm going to mark seams. Here. There we go. So now let's press a you and unwrap. We could try conformal. And I think that looks pretty good. Alright, so I'm going to tab back into object mode, hit the division key. Let's do this one here. This one is really dense, so wow, let's see what we can do with this. I will right-click and add an edge here. I don't think we're gonna be able to see this part down here. So I'm going to Control click to connect that edge and add a seam here. I think I will also come up and add seems right on the inside, in here, like maybe here. And on the insides of these as well. Let's do this. We break these out. We go and let's try this. Select everything you unwrapped. Yep, I think that'll probably work. Let's go back here. Let's do this one. And for this, let's just see if we can UV unwrap it since it doesn't have a backside here, Let's just press U and unwrap. Is that going to work or are we going to have too much stretching there? Let's see. I'll add that material. Go to material preview. We've got a lot of stretching there. Look how big that is and how small these are. Alright, so let's split these out. Let's say we add an edge here, at an edge here or excuse me, had a seam there. And here and here, you can mark seam and let's see how this works. Now let's go back to here that allows our squares to be a little bit more similar in size. We've still got some stretching here, but that's going to be so small and it's gonna be a uniform material. Let's go with it and see how it works. What else do we wanna do? Well, how about these guys right here? Let's hit the division key. And for these guys, it looks like, well, we've got these faces on the bottom. Will we ever see those? There's a possibility, right? So, okay. Let's go ahead and add a scene here with that face. Select it. I'll just choose mark scheme. Just mark the edges around that face. And then for these, maybe we'll add an edge here. Oops, let's go into this. There we go. And maybe we should add an edge. Back here. I'll press Alt and click, and then let's just de-select. I'm going to press Shift Z and press the C key, middle mouse button, click and drag, and I'm just going to de-select those. There. There we go. So we just have those. I think this one will open up. Okay, let's try it. You unwrap. Let's try angle based. Well, let's see. I'm gonna go over here, add that material. Actually that's not bad. It curves a little bit here, but the top is pretty nice. Alright, let's do that. This one over here. I don't think I've done yet, so let's just go ahead and finish this up in the same way that we did that other one. I'll just see key and de-select those edges. You end mark seam. Then let's just select this. Oh, I better turn off this seem delimiter, so I'll press Shift and click this. Then we can go ahead and unwrap that. Alright, so we have those two. Now. What else do we need to do? Do we have everything all done? I think so. Let's select everything. Press Control, L, and link materials. Well, that didn't work because the gas tank was the act of elements. So I'll shift click one of these that has the material on it, and then I'll press Control L and Lincoln materials. There we go. Alright, control-click. We have that. In the next video. Let's work on the front fork. 87. UV Mapping the Front Fork and the Oil Tank: Alright, let's take a look at this front fork here. I will go ahead and select everything. And is that, Are there any things we think that are in there that shouldn't be in there. Let's hide it right here. And oh, I think we should probably put that in there. And maybe even this little guy right here that's connected to a piece of that. So let's put that in there too. I'll press the M key, front fork and we'll put it right in here with the front fork. Okay, Now let's bring this back. I'll Control click it and oh, look at this. We've got a few things down here that aren't supposed to be in there. Okay. Well, let's see what this is. This is just a plate I put at the bottom. Just to connect those two. I don't really want to go back and put this with the chassis right now. Maybe let's just add it with the foot rest. Let's do that. So I'll select this m and put these down here in the foot rest. Okay, Let's see what else we have front for control. Click this down here. Is probably with what would that be? That would be the gear shift, I think. Right? Yeah. And this I think should go in the gear shifts, so let's do that. Am gear shift. Alright, and what else? Fork control-click and this thing. What is this? Let's take a look. Oh, it's part of this that should have gone in with the wheels and accessories part. So now we're going to have to take this and add that into the wheels and accessory UV map for this collection of pieces. Alright, well, let's go ahead and do that. That shouldn't take too much. Let's go over to here to the tires and wheels. Excuse me. I was saying chain and accessories. Let's do the tires and wheels here. Let's do that. Alright, and it isn't there. So let's take this, press M, add it to the tires and wheels. Here we go. Let's take I'll take all of these, the wheels and tires and let's hide those here. Then if we select everything here, tab into edit mode, select everything. So there is our UV map and there is this guy right here that, that UV map, alright, Well, let's just quickly make sure it's all ones. Let's press U and smart UV project. And there it is. That doesn't look right. Let's tab back into edit mode and let's take a look at this. I didn't have that individually selected. It isn't uniform, so let's press Control a and apply the scale. Now it's uniform so that when we hit U and smart UV project. Now it's more in line with the way it is in the 3D view, more proportional to the way it is here. Let's add an Ireland margin may be 0.01. And then let's select all of this here, hit G and move it aside. And then we will, just like we've done before, select everything. I'll press Control and Spacebar. Let's find a place to put this. I can just scale this down. And you know, I was worried about these areas inside the circles not being used efficiently. Well, here we go, See. We can use that a little more efficiently there. Alright, I'm going to press Control in Spacebar. And there we go. Now let's press Alt H. There they are. And then control-click this. So now we have that piece in the proper collection in the existing UV map. Alright, now let's come back over here to the front fork. Let's isolate this. I'll select all of it. Let's press Control a and apply the scale. And now, let's just try and see if we can use smart UV project for everything here. I'm not sure we'll be able to, but let's try it. Let's see. I'm going to select one, hit the a key tab into edit mode and select it all. Let's press you smart UV project. I've got an island margin of 0.01. So let's just click OK. And there we go. Now that's a lot. Let's try 0.001. That's a little bit better, but we've still got a lot going on here. And I think a lot of this is our coils being split up. We don't actually want that. So let's see if we can do something else with the coils. And this is oftentimes a good way to do things. Go ahead and use smart UV project, see what blender can do, and then go back and do a little tweaking or a little fixing of the things that you think blender didn't do great on. And I don't think Blender did great on these coils. So I'm going to hit the division key to isolate those. And let's just, I'm going to select an edge down here. In here and let's press U and mark seam. And let's just try this. I'm going to press Tab you and unwrap. Well, that is a very long skinny piece, so I don't think that's going to work. Why don't we try and split this up on the inside to hide the seams. Let's maybe split it into thirds. Maybe let's select an edge here. And select an edge up here. Maybe, maybe right here, or maybe one up. Let me do that. Like this. There we go. So I've split it into thirds. You mark seam, and now let's just hover over this, press the L key you and unwrap. Yeah, I think that gets it a little bit better. It isn't quite so long and skinny. Let's do that again. Let's split this one up into thirds. Maybe that, and maybe this. Let's try that. I'll mark seams at the L key, you and unwrap. Alright, let's try that. Now if we hit the division key and bring everything in the collection back, Let's select everything here, tab into edit mode. And let's just now average Ireland scale and pack islands. So I'll hit the, a key over here, deselect everything, average island scale and pack islands. And we've got a margin of point zero-zero one. That might work. Yeah, I think that's alright. Let's, let's go with that. Alright, so if we tap into object mode, let's add the material to one of these right here. I'll go over to material preview. And then let's select everything control L and link materials. Okay, there we go. Now we've got the front fork. What else? What is next? Well, it's the oil tank and battery back here. Let's try that. I'm going to select all of these objects. And we've got these tubes here along with it. But they're not the rubber tubes like these other ones. They, if I recall, are a metal piece. So let's go ahead and keep that with these. Alright, so let's press Control and click here to isolate it. And let's see what we can do with this. So first of all, let's take, well, let's take all of them, control a and apply the scale. All right, then let's isolate this with the division key. And I think I'm going to break this out like this. Let's try and isolate the back like this. And then maybe we can isolate the top and the bottom like that. Let's see what happens here. Let's press U and mark scheme. I've got all of these marked. Let's try this. You and unwrap. Is that going to work? Well, let's try it. Let's add that material. Go to material preview and take a look. Well, if you've got a little bit of stretching here now, so maybe we can do a little bit better. Let's see. How about if we add an edge right up here, right here, and one down on the bottom like that. Let's see if that helps. You unwrap. Yeah, that helps quite a bit. That allows that texture to lay out a little bit better. Yeah. So yeah, I think that's good. Alright, so let's hit the division key and let's go back and see what else we can do here. Well, there's this thing that should be fairly easy. I think we could probably just use smart UV project for this. There we go. Okay. The division key again. What about these little pipes? We should probably let me get the division key and let's just add an edge on these, on the insides Where, where they really aren't going to be seen like this. And then let's just use our unwrap here like that. Yeah, That's fine. Alright. Now for these other pieces, they're probably small enough where we could maybe just use smart UV project. Well, this piece here though, I think I want to do a little bit more to this. I think I'd like to maybe add a seem to this. And yes, this is two pieces. So what I'm gonna do is since we have a bit of a gap there, I'm going to take that edge and let's just hit E and scale that in and bring it down just a hair. So then what I'll do is just press Alt and click there, and then hit C and middle mouse button click and drag to de-select all of these. I don't need all of these. Just this here. Let's mark a seam there. And then let's just mark as seen here, this is a cylinder without a top or bottom. So let's just add a seam on this side and see how we do. I'll hit a, you unwrap. What's going on here? Let's try conformal. Well, oh, it's this on the top and it's kind of being stretched because these corners are attached. So let's try and split those corners out with a seam here. Alright, let's try that again. Unwrapped. And yeah, that flattens that out a little bit better. Alright, Let's hit the division key. And now all of these pieces I think are good candidates for just smart UV project. Let's do that. Tab into edit mode. Select them all, you and smart UV. There we go. Alright, now that we've done that, let's select everything tab into edit mode. Let's hit the a key to select all the pieces. Then we'll come over here and select all the UV islands. And now let's go to the UV menu, average island scale and pack islands. Now, we could maybe take this margin to 0.01. Yeah, I think I like that just a little bit better. Alright, Let's add the material. A key Control L, N-linked materials. There we go. So now if we control-click this, we can see once again what we've UV mapped and what we haven't. So in the next video, we'll maybe go and work on the engine. That's gonna be a little bit more complicated, I'm afraid. And we have a few pieces that are hanging out here that need to find a home. But in the next video, let's work on the engine. 88. UV Mapping the Engine: All right, The next item on the list is the engine here. And I think I'm going to have to do a little bit more in terms of organization for this engine. It's pretty dense in terms of all the pieces. So where when we were working on the tires and wheels, I just tried to keep in my head that we're going to need materials for the tire, the wheel, and then the other parts. I think I may have to actually create new groups within the engine collection here to tell me and remind me what's going to be in what material. So let's think about how we're going to do this. I think these pieces down here going to all be pretty much the same kind of material. In addition, we're going to want all of these screws on here as well. Let's go ahead and select all of these like this. And well, let's do this one to here. And if I hit the division key on the numpad that will isolate those. And I think this is pretty much everything I want in one group. So let's create a new group with this, let's just begin right off the bat, creating new groups that's going to correspond to our materials. So I'm going to press M. And in the engine collection I'm going to create a new collection and I'm going to call this engine block. Engine block. And you know what, I'm going to add MAT at the end just to remind me that this is going to coincide with the material. Alright, so there's this one here. Ultimately we're just going to have a few collections with this MAT at the end to remind me that that's what we want to keep. And then I'll remove all the other collections. Alright, so let's hit the division key here. And in terms of material, I think this, this and this, and these are going to have that chrome material on them. So let's combine these into one collection as well. I'll press M and let's create a new collection and let's call this vent and knuckleheads. There we go there. Oh, and I want to put that MAT on the end D9. Let's do that. In a T. There we go. Okay, so we know that this one and this one are the two that we want to use. What about the engines cylinders here? We should probably add these together into a collection. And in terms of materials, I think all of these pieces here, I think these down here and this, and this, and then all of these up here. Let me grab all of these like this. Okay, so we've got all of those, right, let me hit the division key. Alright, I think that's good. So all of these should go in their own collection as well. I'll press M and let's create a new collection in the engine on call these engine cylinders MAT. There we go. So now we've got these here as well. Alright, so we've got these three. What happens if I hide these? Now let's press the division key again. What happens if I hide these with the MAT? Will that leave everything else? Yes, I think it will. Now, let's make sure I'm going to come back here. I'm going to Control click this. And let's make sure that everything we want is in here. I'm going to choose, Select objects. And I'll look at this. We've got this, this, this, there's some pieces in here that aren't being highlighted. I think that alright, so let me hide this real quick here and let's see if there's anything on here. Yeah. Okay. So let's grab this, this, this Let's grab the, so I'm just looking for pieces that need to be in this collection here. I'm going to move this into the engines real quick right here. And what else? What about this? Let's bring this back. This is part of this block. I think this needs to be in there too. Let's press M and put this in the engine block. Here we go. Alright, so now let's isolate the engine here. And then let's hide the ones that have the material or the MAT at the end of the name. And there we go. So now we've got all of this. Let's select all of this and move this into, let's just call it engine pieces, new collection, inch and pieces in a T. Okay. Alright, let's bring this back. And so now I think these collections here that do not have an arrow are empty. So let's just delete these. I'll right-click and delete. And there we go. So now we've got the engine split up into these four collections that represent. Materials. Now we can begin working on these and I think these are all complex enough that I'm just going to use smart UV project for this. So first of all, let's just work on the engine block. I'll hide everything else except that. Let's select everything. Press Control a and apply the scale, its tab into edit mode, select everything you. And smart UV project. I'll add an island margin of 0.001. And here we go. I'm not a huge fan of these pieces right in here, but I don't know that it's worth going in and really struggling to clean that up. I think since it's going to be uniform, kind of a texture, I think this could be okay. Let's add that material and then let's select everything, press Control, L and Lincoln materials. Let's go over here, see how we did. Yeah, I don't see anything in here that is going to be a big problem. I think that's fine. Alright, so we've done that one. Let's bring back the vent and the knuckleheads. Let's select everything. Control a, apply the scale of tab into edit mode, hit the a key. And let's try smart UV project here. Alright, That's not bad. I think one thing that I may want to do is just split this out right here. I think I'm going to want to add a different kind of material in here at some point. So maybe if I selected all of these in here, or perhaps an easier way to do that is just figure out what I want The seem to be. So maybe I'll just add the seam Here. Let's do it right in here. I think. Let's do that there. And let's add a seam. And then I'll press the L key in here and turn on seam. And now we see that now it's only being broken up into two pieces. That's not bad. But let's go ahead and press U and unwrap this so we get it all in one piece. Now if we hit the a key and come over here and hit the a key, Let's average Ireland scale. And then pack islands. Here we go. Alright, I think that's pretty good. Let's take a look at it. The material on it. I'll add the material here. Select everything control L and link materials. Yeah, I think that's actually pretty good. Okay. Let's do this again. So we've got these two now. Let's hide those two and just do the cylinders. Now for these, these things are pretty complex and they've got some Boolean cuts on them. So I think these may be a little problematic, but let's try it. Let's just select everything control a and apply the scale tab into edit mode and select all the polygons with the achy you and smart UV project. Let's see. Well, we've got a lot of these rings, it's gone through and split those up at those ridges. And I'm not sure that that's going to work real well. Let's just see, Let's add a material to this. Select everything control L and Lincoln materials. Let me see if I can split one and see how it looks. Let's do that. I'll take this and hit the division key and tab into edit mode. And yet look how split up that is, that may not be what we want. So let's select an edge and that edge goes all the way around. Let's press U and mark seam. Hit the a key EU and unwrap. And oh, that's ugly. I don't like this pulling here. And I think it's because of the way we have it with the bottom and the top. Let's try. Let's try just selecting a few polygons up here and deleting these. And let's select a few down here and delete these. And let's just try this. You unwrap. Now there's still pulling. What if we grabbed these edges all the way around here? Let's mark those seams and 0 because of that Boolean, we need to select this seem individually and then try and connect them up. So let's just select this and connect this to this. There we go. Alright, now let's try this a, you unwrap. Well, that's a little bit better. I have to admit. Yeah. Let's go with that. So okay. So I'll hit the division key and let me just go do that real quick with this one as well. I'll hit the division key for that. Alright, with those selected, let's hit the a key, you and unwrap. Yeah, I think that's a little bit better. Alright, so let's hit the division key. And then let's select everything here. Tab into edit mode. Come over here, select everything over here. And let's average island scale and pack Islands. And I think that looks a little bit better than it did. So now let's come over here. And yeah, all of that is a little bit better. Alright, so we've got these now. The last thing I think we need to do are all of these other pieces. Let's do this right here. So now let's take all of these, hit the a key control a apply the scale tab into edit mode. Select them all. Oh, look, we've got a couple of things in here that I think still have a modifier on them, right? So we've got this, let's apply this. What else did we have? This? Yeah. Okay. Anything else? Alright, I think that's it. So if we select everything tab into edit mode, hit the a key, and then let's press U and smart UV project. And there we go. Alright, we've got those taken care of. Let's add the material. Select everything, control L and link materials. And now we've got these four collections that are giving us our uv maps for the engine. Alright, I'm going to press Control and click the engine. And there we go. The next one on our list is the transmission. 89. UV Mapping the Transmission and Circuit Breaker: To work on the Transmission, Let's first control click over here so we hide everything else. And it doesn't look like anything that isn't supposed to be in here, is in here. So that's good. Let's just begin by trying out smart UV project. I'll hit the a key, press Control a and apply the scale. And let's tab into edit mode. Select everything. Oh wait a minute. Look at this. This didn't really select which tells me that we have yet another modifier still on here. So I'm going to apply this. There we go. Now let's try again. Hit the a key control a apply the scale tab into edit mode and select everything. Yeah, that looks a little bit better. Let's hit you and smart UV project. Click Okay, and there we go. Now, that doesn't look too bad. Let's apply the material real quick. Then I'll hit a and Control L and link materials. And this right here, this is kind of a prominent piece. And we can see some scenes in there. It's been broken up awkwardly, it seems. And let's just select that. Yeah. Look how many pieces that is. And what about these? Let me see. What's this? Well, these have been broken into a lot of little pieces, but I don't know that I care so much about what about this one here? That too has been broken into quite a few pieces. So maybe let's just take these prominent pieces upfront and see what we can do with these. So let me select this and I'm just going to work on this individually. I'll hit the division key tab into edit mode. And let's just put an edge right back here, or a seam, I should say, hit the a key EU and unwrap. So that takes all those smaller pieces and puts them into one. That's good. The division key, let's take a look at this. Hit the division key again tab into edit mode. So we've got this piece here. I'll hit the L key and to isolate it even further, let's press Shift H. And I think I would like to add an edge here. And then let's add an edge around here to split this off as well. There we go. So if we just select this turn off seen with Shift-click you and unwrap. Yeah, that looks a whole lot better. Alright, to bring the other things back, I'll press Alt H, and then let's select these guys and see what we can do with these. I'll press Shift H and let's take a look at this. So what do we want to try here? I guess what I would say is we split it. Let's try and split it like this. All the way around like this on all of these. And maybe like this. So let's just try and split all these up. Alright, I'll add it seemed that, and then we could just maybe select one edge down here and just open it up just like a cylinder here. And let's try this. L U unwrap. Yeah, I'm not wild about these pieces, but frankly, I think they're okay. Let me just make sure their individual pieces. Yeah, they are. Yeah. So let's just go with that for these as well down here. And then let's add a seem right in here. I'll just select an edge here and add one there. Now, Let's just select the two of them. You unwrap. And there we go. Yeah, I think that'll work. Let's press Alt H to bring the others back. Tab back into object mode and hit the division key to bring everything else back. Now, let's rearrange our UV map. So let's select everything here, tab into edit mode and hit the a key for everything. And then over here, hit the a key, average island scale and pack islands. Yeah, I think that'll work a little bit better. Let's try. I'll go back to material preview. And there we go. Now, I put the seam on the wrong, on the front, on this instead of the back. Well, let's see what we can do to fix that. If I go to local, I can then rotate it around the z-axis it looks like. So let's do that. Are non-zero. Spin it around there, and now that's in the back. So I just put that on the wrong place. Alright, I think that looks pretty good. Let's Control click this and there we've got that. We've already done the exhaust pipes. Let's take a look at the circuit breaker here. I'll Control click this. Think that's everything. Take a look. Yeah, I think that's everything. So for these, let's just begin once again with smart UV project. I'll select everything, press Control a, and apply the scale. Then let's tab into edit mode, hit the a key and smart UV project. Alright, what do we think? Well, let's add material and see. I'll just add it to this one here. Then select everything and link materials. Now what happened here? Oh, this is still a path. Well that's a problem, right? Yeah, Let's change this to polygons. Let's do that. Let's come down here. We've got three. And I'm gonna give this to try that. And now let's convert it. Convert to a mesh. There we go. Now let's try all this again. Hit the a key you smart UV project. And Okay, now, how does that look? Yeah, that works a little bit better. And I think this is fine. This is such a small piece on this, but I don't think it's gonna be a problem that we've just used smart UV project for everything. I'll come over here, press Control, click. The next one in the outliner is the chain and accessories. Let's just control click this and see what we have here. Yeah, we've got some pieces up here that we need to work on. And we're going to need to think about how we're going to do this. So in the next video, Let's go ahead and work on the chain and accessories. 90. UV Mapping the Chain and Chain Cover: Alright, let's now work on the chain and the other parts, the accessories for that saw control-click here. And we've got a few things that probably aren't a part of this. So this thing right up here, what is this? Let's Control click here and that's part of that brake lever. So let's press M and put that in the brake lever collection. And then let's see what else. We've got chain and accessories here. What's this? What do we have going on here? Let's take a look. This is part of the rocker clutch pedal, so let's do that. Rocker collection here. Alright, What else? What about this thing over here? Is this part of anything that we want in this collection? No, that's part of this. And what did I say that was her. When did I at least call it at the time, I'm going to hover over the outliner and press the period key on the numpad. That brings that up here. And it's in the gear shift. That's right. So let's take this and put this in the gear shift as well. Alright, now let's see what we have Shannon accessories, control-click, and there we go. Let's just select everything control a and apply the scale. I think I'm going to just have a collection or excuse me, a material and therefore a collection for just the chain. It's got so many small pieces on it. I don't think I want it on any other UV map. So I'm going to tab into edit mode and select everything and just use smart UV project. And there it is, It's terrible. It's got a whole lot of things in it, but I'm gonna go ahead and leave it as is 0.001 for the island margin and there it is. So yeah, I'm not going to try and do anything else with that. The only thing I will do, take this and put it in its own collection. I'm going to create a new collection, call it chain MAT. And that's going to remind me that the chain is going to get a material all its own. So I will take this and drag it into that chain and accessories just so I know it's there. And there we go. Now. Everything else can be put in its own material. I think we'll just create a collection for that. But let's begin on something else. How about this right here, I'll hit the division key. And let's break these cylinders out. Are these circles out With seems here. And maybe one in here. Maybe one in here. And we could do one in here, I guess let's try that. And then we can connect these two that look kind of like a cylinder here. So that'll open up. Um, oh, and let's get this back. Here. We go. Alright, let's select everything you, and let's choose unwrapped since we're applying seems alright. Let's try angle based. Yeah, that's a little bit better, I think. Okay, that'll work there. The division key. And let's take a look at this thing. What do we wanna do with this? Well, we could split it like down here or even here, so it won't be so big. Maybe let's split it there. And then hit the a key EU and unwrapped. Let's try that. Well, okay, let's try conformal. Now. I like ankle based a little bit better. Alright, let's try that. See how that works. If the division key. And what about this thing? Let's try this. For this, this is an interesting thing. If we tried to, let's try and well, if I press Alt click, it isn't going to select the edge all the way around. And I don't know that I want to go around for each individual one and try and select that. So we need to be a little more clever. One thing we can do here, if I go to edge mode and if I press Control Alt and click, watch what happens? It selects the loop of edges going crosswise, right? Kind of like if you're in face mode and you select Alt and click that, it selects that whole face, right? If you're in edge mode and press Alt and control, it'll select all of those parallel edges around that loop. Okay, so that means that if we press Control Alt and Shift and click, that will de-select them. Alright, so now that means we could press Alt and click these faces here. Switch to edge mode, right? You see where I'm going here? Alt, Control, Shift and click. And that deselects those. Oh yeah. Alright, so let's press a you and Mark seem sometimes you just got to outsmart Blender. Let's go ahead and select these. And these in here like this, and let's split these out. And what else do we need here? That may be all we need. Let's try this. I'm going to press the a key, you and unwrap. What do we have here? Let's change to conformal know. Oh, so this is that big piece around here. Okay, So what we need to do is actually select a few edges on around like this. It splits out a little bit better. Let's do that. I'll make one on top, one on the bottom, and one each on the side. Let's do that. There we go. Let's try that. You unwrap. Yeah. So that lays them out over here so they're flat. Good. Okay. Yeah, I think that'll work. Let's hit the division key. And what about this here? Let's work on this. If we tab into edit mode, I think we should be able just to select the edge all the way around the top part here, like this, like that. Let's try that. And let's see if that works. I'll hit the a key you and unwrap. Yeah, with conformal, that looks pretty good. How about angle based? Know, kinda like conformal? Yeah, let's do that. Alright, we're getting close here. How about well, I guess it's just all the little bolts and things here that we need. Let's do those. I'll select all these. Alright, so now let's hit the division key tab into edit mode a, you smart UV project. Alright, now if we bring everything back, Let's take the chain because I don't want this to be a part of this UV map. Let's hide it with the H key. And then, oh, we've still got a path here, we don't need that. Let's go ahead and delete that. And then I will take all of these tab into edit mode. Oh, no, we need to select one and then select everything. There we go. And now let's come over here, select all of our UV Islands. Let's average island scale, and let's pack islands. And what do we think? Yeah, I think that'll work. So now let's add a material. And let's select everything control l. Add that material there. Let's bring back the chain Alt H, and let's Shift-click one with the material Control L and link materials there. So now what Let's do is let's just hide the chain and I'm going to take all of these. And well, we can just use this collection as it is. Why don't we do that? I will take this collection right here and just move it out up into the scene collections. So it then comes in down here. I'll hide it. And I'll take this. And I'll just call this chain and accessories dash MAT. We know what that is, right? So I've got these two now for this, alright, let's Control click and then bring these back. In the next video. Let's work on that engine guard here. 91. Finishing the UV Maps: The next collection in the list is the engine guard. So let's see what that contains all control. Click that, and I'll press Z and choose Solid View. And here we go. So I think this will work just fine if we select everything control a and apply the scale tab into edit mode. And this time let's just use smart UV project and see what happens. Well, you know what, That's not bad. Let me just add the material and then I'll select everything control L link materials. There we go. I'm okay with that. We can see some seams here, but this is just gonna be that shiny black metal. And I don't think we're gonna have a problem with that. Alright, so let's move on here. Let's work on the rocker clutch pedal. Control-click here. Let's take a look. Well, let's select everything and once again apply the scale tab into edit mode. And let's just try our smart UV project. And it's pretty good, but it's got this very long pieces here. So we could try selecting these here and then hitting G and moving them out like this. Maybe moving this over here. I'm going to press Control and Spacebar. And then I'll take all of this and scale it up quite a bit so it fills our UV space here. You can do this, you can just grab it and move it around and try and fill the space as best you can. There we go. And then we've got these here. They can go right here. So sometimes you just need to manually help blender out with using the 3D space effectively. Alright, I think that'll work. Let's press the Z key and go to material preview. Let's add that material. Select everything control L and link materials. Alright, we got that done. Well, how about the gear shift here? Let's Control click that, see what we have. Yeah, Okay. We can select everything and apply the scale. And then let's just tab into edit mode, select it all and let's try UV project here. Why do we think? Well, it's hard to know until we put a material on it. Let's see. I'll just one on here and then Control L and link that. Alright, now these look okay. This is a little wonky, but once again, it's just gonna be a uniform metal material. But up here, this is kinda prominent. And I don t know that I want, seems to be quite like that up here on this. So let's try this again. I'll hit the division key to isolate it. And let's tab into edit mode and see what we can do about maybe let's add a scene here. And let's add a seam here, there. And then I think this is the back, right? So this is the back here. Let's then take this edge and Control, click this edge and add a seam right here. So it's going to split out two domes and then a strip for that cylinder in the center. Let's try it to a new and unwrap. Yeah, there we go. I think that's going to look a little better. Let's hit the Z key go-to material preview. Oh yeah, that clean that up very nicely. Alright, it the division key. Here we go. Let's go on to the next one. It's the seat. So for this one, let's go ahead and apply our scale. I will select the seat itself here and hit the division key. For this. I think maybe let's take an edge like this right along in here. And let's give that a seam. Then let's also mark a seam underneath that trimmed, split that out. And so it isn't just a big loop. Let's add a seam here and maybe add a seam back here like this. Let's try that. Then let's hit a U and unwrap. Alright, I think that's not too bad. Let's try angle based. Yeah, I like it better on the trim with angle base, so yeah. Well, let's go with that. For the other parts, I'll just select the seed and hit the H key. And let's select all of these tab into edit mode. And let's just use our smart UV project. Let's press Alt H to bring the seat back. Let's select everything and tab into edit mode. And now let's just rearrange our UV map. I'll press the a key UV, average island scale and pack islands. Now it's not using the space very efficiently. Again, we can maybe play with that. Let's press Control Spacebar. And what I'll do is I'll take these and I'll turn them. And maybe I'll take these, all of these here and I'll turn these are 90. And then what I'll do with those turned, I'm going to pack islands again and see what happens. Go to pack islands. And now it looks the same, but this time we can turn it a bit and it uses the space a little more efficiently. We could almost take these and this. And then I'm going to press Control I, to invert the selection. And then if I take this and move it up here, what if I scale this out just a bit like this? Maybe used that just a little bit better. Yeah, it helped a little bit. Alright, I think I can live with that. Let's see how the material looks on it. And link materials. That's not bad. It's kinda stretched here. That may not be an issue. We're just going to put a leather material on it. And to alleviate that stretching, I might have to add a seam up in here. And I really don't want to do that. So let's go ahead and go with that and see how it does. Alright, let's bring everything back and see what else we need to do. How about the brake pedal? Let's Control click that. Oh, we've got something up here. What is this? I hit the period key. Let's Control click oh, that's the brake lever. Let's press M and choose brake lever here. Oh, I think I put it in the brake pedal instead of the brake lever. That's what I did. Alright, there we go. And now let's take a look at all of this here. I'll apply the scale. Let's select everything. Smart UV project. And there we go. I think that's fine. We'll add the material and link it. There we go. Alright. Let's go on to the next one. How about the box? The what I think is probably the electrical box. Oh, and we've got this kickstand in here. What am I gonna do with that? Well, I think for now, let me put it in the chassis and I'll come back to that. Let me press F2 and I'm just going to call it kickstand. And then I'll press M and move it into the chassis there. And I'm going to need to UV map that and deal with that here. But for now, let's deal with this. These guys, all of this stuff. We need to move into the cables collection, right? Let's do that. Am cables and tubes. And then let's just select everything and apply the scale again. And let's try smart UV project. I'm okay with that. How about you? Well, let's go ahead and add the material and link it. Alright. Now for the foot rests here. I think we can just do the same thing. Once again. We'll apply the scale, select everything and edit mode and smart UV project. There we go. Yep. Alright. Let's put our material on. And let's move on about the cables in tube. Let's see what we have here. I think what I'm going to do, since this is just gonna be like a black rubber material or texture, I'm just going to use smart UV project on all of this. Let's select it all and let's just hit you smart UV project. And there we go. That'll work. I need to add the material here and link it. And there we go. Alright. The brake lever, this guy right up here. Let's see what we wanna do here. I think once again, this is a great candidate for smart UV project. Let's do it again. Let's Control a and apply the scale. And let's just do that again. And there we go. Alright, I will put the material back on. Here we are. And let's do the toolbox real quick. So this one is going to be really similar to everything else. I think we're just going to use smart UV project on this. Let's give it a try. Here we go. Let's add the material and see how it looks. Yeah, I think that's just fine. Alright. So now we have just about everything done. The only thing that isn't done is this kickstand, and I seem to have forgotten about it. Let's see what we can do in here is all of this is all of this, all one UV map. Let's see. It is. So if I then select this and created a UV map of this, what would happen? What would it look like? Alright, so let's just see if I drag select these and move these out. And then selected everything here. Let's try this. I'm going to try and put this in here. Is there a way? Well, let's first of all, average island scale and let's see what happens here. So these are, oh, that's right. I scaled this down, didn't I? And these here are the kickstand. Now that we have these, let's try this again. I'm going to press UV and pack Islands. Okay, we've still got that same kind of problem. So I'm going to press Control I, and I'm gonna hit G and scale this up. So it fits a little bit better in that UV space. There we go. Alright, let's try that. I'll press Control and Spacebar. And there we go. So now We've got this, I will select that and Control L and link materials. There we go. Alright. I think we did it. I think we UV mapped this whole motorcycle. So in the next section we're going to begin preparing to export. And what that will entail is applying materials to each one of these collections. And in fact, a few of these collections have multiple collections in them. So we'll be adding materials for these. And those materials are gonna be seen in substance painter as texture sets. So in the next section, we'll begin working on that. 92. Creating the Materials in Blender: Well now it's time to organize some of this and get ready for exporting the motorcycle out of Blender and taking it into Substance Painter. So first of all, let's go over to the layout tab here. And I think what let's do first is check if we have any polygons flipped. And the reason why we're doing this is because if we take an object into Substance Painter with the polygons flipped or turned inside out, it will appear transparent in substance painter. The only side that is visible in an engine like substance painter or a game engine like Unity or Unreal. The only side that's visible is the front of the polygons. So we need to make sure that we don't have anything flipped where we're seeing the back of the polygons. So to do that, we can come up here under view-port overlays and we can turn on face orientation. And that will tell us very clearly which objects are turned inside out and which ones aren't. So the blue ones are good and the red ones are bad. So it's really easy to tell. Platelets do is just hit the, a key to select all the objects and then tab into edit mode for everything. A key again. And we can come up here to Mesh normals and recalculate outside or shift in. So let's just press Shift N. There we go. Now let's tab back into object mode. And we've taken care of most of the problem, but we've still got a couple of issues here. And we can deal with these two. Let's take this in tab into edit mode and select all of the vertices. And then let's press shift in. That isn't doing the trick. So we can come over here and turn on inside, and it will flip it out so the blue is on the outside. Same thing down here. Let's select this right here. I'll hit the period key. And let's tab into edit mode. And I just want to select this piece right here. And we can flip that by just coming up here to Mesh normals and flip right there. So we can do that. What else do we have? Well, we've got this over here. Let's take a look at this. Let's also tab into edit mode here. Hit the a key, Mesh normals Flip. We go. And what are we seeing in here? We're just seeing the back of that. I don t think that's a problem. Anything. Oh, I see a couple of things in here, right in here. This one, Let's take a look at this. Let's tab into edit mode. Hit the L key for each of these. I'll press Shift N. That didn't do the trick. So let's just click inside here. And that'll take care of that. Alright, I think we've taken care of the face orientation. Let's go ahead and turn this off again. I'm going to save my scene. And now let's go through and begin adding our materials to the objects in each of our collections. Like for the chassis here, I will Control click this here. Now we can just see those objects. Come over to the material preview. Now I can see what material is on there and we need to just give this a new material and call it chassis. So let's just select one piece, come over here and hit the Minus key in the Materials panel here, right here. That clears that material off of that object. Let's create a new material and call it chassis. And then just so we can differentiate between the various materials, Let's give it some color. I'll just come over here to the base color and maybe just drag this to green. And there we go. These colors don't actually mean anything. They're just allowing us to see which objects have a material on them and which don't. Alright, so now that we have that, let's just hit the a key Control L and link materials. And there we go. Now we've got all of these objects with the chassis material on it. And this is what will be seen in substance painter as a texture set. And in fact, a texture set in Substance Painter can really be thought of as like a collection. Here in Blender. It's a way of grouping a collection of objects and dealing with them as a unit. Really, we're just gonna get pretty much these here in substance painter as texture sets. Alright, so let's Control, click this, control click the tires and wheels. And for this, I think I will go ahead and give it multiple materials. So material for the tire, for the wheel, and for all the other pieces. So let's do that. I'll just select this first. Let's hit the Minus key will create a new material, we'll call it tires. And then we'll just swing over here, grab a new color. And then I'll select this Shift-click this Control L and link materials. So now these two have the tires material on it. Alright, so let's deal with this now. Let's pull this off here. And we'll create a new material, call it wheels. Let's give it some sort of a color. And then let's take this Shift-click, this Control L and link materials. Alright, now let's take these four objects here, hit the H key and hide them. And then let's do this. What are we going to call these? Recall him. We'll pieces. Let's do that. We'll just call them we'll pieces. Let's give this a color. How about that? Let's select everything control L, N-linked materials, and there we go. Alright, so let's press Alt H. And actually the wheels color to me is a little bit too close. Let's, let's swing this over here like this. There we go. Alright, now let's bring everything back in the outliner. There we go, so you can see what we're doing. We're just putting different colored materials on each of our collection groupings so we can tell what we've done as we go along. Next, defenders, let's press Control and click here. Let's select one of these. Remove the material we'll call this. Vendors, will give it some sort of a color here. Select everything, control L link materials. And here we go. Alright, let's do it again. Handlebars. Let's select a piece, remove that, call this handlebars. Let's give it some sort of a color. How about this? A Control L link materials. Alright, let's do the horn. Zoom in here so we can see it. I'll select one. Call it horn. Let's give it some sort of a color. The, a key Control L and link materials. Alright. What else do we have to do here? How about the headlight? Okay. Same thing. Remove that. Give it a headlight material. Give it a color. A Control L link. There we go. So in the end it's going to look like a clown car, but that's fine. The colors are just there as reference. They don't actually mean anything. Okay. I've done the horn and the headlight, have the gas tank. Let's do this. Select one. We will call it gas tank. Maybe do this here. And we'll link all of those. Alright. The front fork, we can once again create a material, give it just a temporary color. And that all of the pieces. And then here we go, and it's a little bit close. I'm going to swing it around, kind of like that. There we go. How about the oil tank and battery? Let's do this one. Give it a material. And maybe I'll give this a color of kind of like this. Let's do that. Alright. Now the engine recall that we had a few different collections under here, so we're going to just use these. We'll call each of them engine block, vent and knuckleheads, et cetera. So let's just press Control and click this. And we will just select one of these. Call it engine block. Give it a color here. Select everything. There we go. Then we'll do that again. So I'm just going to keep on going on through all the collections here. I'll select this, call it event and knuckleheads. Here we go. Give this a new color. Alright, so as I said, I'm just going to keep going through here in the same way as I've been doing. And in the next video, I'll have all this completed. And we'll work on exporting this out to Substance Painter. 93. Exporting to Substance Painter: Well, I've gone through and completed my clown car, I clown motorcycle. Notice over here in the Materials panel. If you pull this down, you can see all of the materials that we've created. You can scroll through them here. But if you come down here, look at this UV test material and there's a zero in front of it. And what that means is that there are no objects associated with that material. And in fact, if we save this and close this file the next time we opened it, This would just go away because there's no user assigned to that material or an object assigned to that material. Now you can also just delete it here before you close the file, you can come up here. And we're currently in a display mode and the outliner called View layer. We come over here and dropped down and go to Blender file. And now you can see all the elements that's in this blender file. And if you twirl down the materials, here are all the materials that we just created. And here's our UV test material. We can just take this and right-click and choose Delete here. And now it's gone. And that's just so we don't accidentally export that out to Substance Painter. Alright, well, let's now work on exporting this out. What we're gonna do is just select everything here, hit the a key to select all of the objects. Now I don't have anything else in my scene, so I can just hit the a key and select everything. If you have something else than just press Shift Z and drag select it. So it'll select all of the objects there. So now to export, Let's just come up here to File Export. And we're going to export as an FBX. And in this window here, we need to choose only the mesh and choose to limit the export to only the selected objects. And there we go. Now let's put it in a folder. I've created a folder called export that I'll put that in here. And I'll just call this motorcycle 01. Let's just do that. And I'll click Export. There it goes. So now let's open up Substance Painter and see what it looks like. Alright, here in substance painter, Let's go to File New and we can use the blender template. There's quite a few in here, but it now has a blender template that we can use. I'm going to change the document resolution to make it pretty big like this, 40, 96. And everything else we should just keep as is, I don't want it to auto unwrap. We've already gone through all the trouble of UV mapping in Blender. We don't want Substance Painter to do that again. And frankly, substance painters auto unwrapped isn't even as good as smart UV project in Blender. At least at this point in time, It's getting better, I think it is. But let's just leave all this as is. Choose, select. And let's grab our new FBX that we just exported here and click Open. Then. Okay, here is our motorcycle. Now, the navigation here in Substance Painter is a little bit different than in blender. You use the alt key to do just about everything. So alt, middle mouse button pans, Alt, left-click tumbles, Alt, right-click zooms. And of course you can scroll the mouse wheel to zoom as well. So really, whereas in Blender, everything is based around using the middle mouse button. Here in substance painter, everything is based around using the Alt key. Alright, now, over here is all of our texture sets, which as you can see, correspond to all of those collections that we created and all of the materials, I should say actually, now I can't see them all. I can't pull this down any further because of the resolution of my screen here. So I may try and undock this and move this out. Let's see if I can just grab this and move it out here. And then maybe I'll take it and just move it over here like this. Let's try this about right in here. If I bring this out a bit, I'm just trying to get it so we can see all of our texture sets at once. So maybe something like that. I know this is gonna be a little bit different than your screen, but I would like to be able to see these all at once. I think it'll help. Now over here we've got the Layers panel. We're gonna be building layers to create our textures. And over here is the texture set Settings tab. In this right here, we're going to be baking our mesh maps. So these two tabs here and here are gonna be very important. And of course down here is our properties panel for the selected layer up here that we choose. In addition, up here, we can pull this menu down and see, instead of just the 3D view which we have here, we can see the 3D and 2D view here. So we can see the 3D model and the UV map that we've created. Let me just drag this over a bit. So currently this is the UV map of the electrical box. You can see like if you choose the handlebars, here's the UV map for the handlebars and the oil tank and the clutch. So this allows you to see the UV maps to what's selected in the texture set list. I'm going to come back up here and just change this to the 3D only again. And as I mentioned over here, is where we bake our textures and we're going to need to do this for each of the texture sets. So to begin with, let's just do something fairly straightforward like the tires. Let's select the tires. And over here in the texture sets settings under the Mesh maps tab. Let's click Bake mesh maps. And when we do we get this panel and we're going to want the output size to be something quite a bit bigger. I think I'm gonna go with 2040 8a2k image for the tires. And I also want to turn on some anti-aliasing. I'm gonna pull this down. And the higher we go, the longer it takes to bake the maps. So I'm just gonna go with two-by-two. So now that we've got that set, Let's come down here and just choose Bake tires. We could choose to bake all of the texture sets all at once. But I think let's just do one at a time for now. I'm just going to click Bake tires. And here we go. Now it's going to go through and bake the necessary textures of these tires onto the tire uv maps. So I'm going to click okay, and if we come over here, you can see that each of these particular maps have been baked to the UV map that we created for the tires right here. So now that that's been done, what we can do is come back to the Layers tab. I'll go ahead and delete this layer. We don't need that currently. I'll just click Delete, and then let's find a material or a texture over here. I'm just gonna type of rubber here. And we can choose between any one that we have in here. I think I'm going to choose this rubber vulcanized raw. So I'm going to take it, drag it and drop it. There it is. And you can see that it went on in both the 3D view and in the UV map as well. Alright, let's go back to our 3D only. There we go. Now we've got the beginning of our textures. So now this is our process. We're gonna go through each of these texture sets. We're going to bake the mesh maps. And then we're going to add our materials from our material panel. Over here. You can see these icons here as I pull this over. This is our materials here. And before we do anything else, let's save this. I'll press Control S. And I've created a folder here called textures. Let's just add that in here. I'll give it a name. I'll call this motorcycle, and I'll call it 01 here as well. And save. So now we have our Substance Painter projects saved. And in the next video, we'll continue on and add textures to the motorcycle. 94. Using the Poly Fill Tool: Well, now that we've got a texture on our tire, Let's take a look at it. Let's zoom in a little bit closer. And let's also change the lighting. I'm going to press Shift and right-click and drag the mouse and we can rotate the lights around the object here. And if we do that, we can then see some of the texture that we have from this material here. And if we select it in the layers panel down here in the properties panel, we've got a lot of different things that we can adjust. We can adjust the rotation of the texture. We can increase or decrease the tiling here so we can make it smaller, bigger. I'm just going to type in one again here. I think that was fine. And many of these materials come with some extra settings that you can play with. One of the ones here is age. I think I'm just going to drag this up and see what happens. And I kinda liked that. I kinda like what's happening here as we drag that up, right? I think I'll just drag that up a bit. And the roughness, if we drag it up, then it isn't this shiny. And if we drag it down, it becomes more shiny. So I'm just going to drag it back up into this range here like that and maybe bring the age down a little bit more. Maybe I don't need quite that much. Maybe something like that. Alright, now let's take a look at the wheels here. I'll come over and choose the wheels texture set. And then let's come over to our texture sets settings. The mesh maps tab, and click on bake mesh maps. Now for this once again, I'll use 2048. I've got my subsampling at two-by-two for the anti-aliasing. Now notice over here under the id, the id map, we've got our color source as material. And that's what's giving us our texture sets here is the material from Blender. So let's go ahead and click on bake wheels. There we go. I'll click Okay. And now we've got all of our texture maps baked for the wheels. Let's now go back over to the Layers tab. I'll delete this single paint layer. We don't need that right now. And I've got a, an image over here. You can see it here. I've got an image over on my other screen. And I'm keeping it over here because I don't really have a place to put it in Substance Painter. So I would recommend as you do this, have some reference images up as well that you can keep an eye on. Now for this, I think I'm going to go with a painted steel. Here's steel painted. So I'm going to click and drag and drop that over here. And now we've got that on tires or excuse me, our wheels. And of course it's the wrong color. So I'm gonna come down here to Color and click on this. We can adjust the color here, or we can use our eyedropper here or here to sample a color in an image, even an image outside of Substance Painter. So if you've noticed with Blender, you can sample colors for a material in Blender. If the image is in the interface, in say an image editor within the blender interface. The cool thing about Substance Painter is that you can select colors that are outside of the program. So I'm just going to click here, drag it over, and click on the image I have over on my other monitor. And there we go. Now it's not quite the way I want it yet, so I'm going to open this up and maybe make it a little bit lighter here. Maybe a little bit lighter here. Alright, so I've got that color just about the way I want it. That's good. Now the thing about the wheels though, let me bring this image over again. Just bring it over here. The spokes are a different color, the spokes or a Chrome. So we do need to get a different material in here. Now, if I go over here, I'm going to click here and then type in Chrome. Here we go. I can take this Chrome and I can drag it and I can drop it in here and we can't see it yet because it's at the bottom of the stack. If I drag it up to the top of the stack, there it is. So we've got the spokes done, but now we can't see the paint on the wheel rim. One way to solve this is to use a mask. So what I'm gonna do is drag the steel painted back up on top. And then I'm going to right-click on this layer and choose add black mask. And when I do that, it just passes right through to the next layer beneath it. Now what I wanna do is choose that rim to only have this color. So I'm gonna come over here and there's this polygon fill selection over here. If I click this, now we can see the polygons in a wireframe. And over here we've got these different film modes. You can fill areas by the UV island, by the actual object mesh. You can fill it polygon by polygon and triangle by triangle. So I'm going to choose Nashville here. And then I'm gonna come over and click on the rim. There we go. You can see it's created a white area where the rims are. It's allowing this color to pass through along with the layer below it. Alright, so I'm going to click on this color again. And that'll take the wireframes away. And now you can see we have them on both wheels as well as the Chrome on the spokes. Now, let's work on these. We'll pieces to remember these, Let's click on this and come over to our texture set settings to the mesh maps tab. And let's bake the mesh maps. Once again, I'm just going to go with a 2D image. We've got our anti-aliasing at two-by-two. That's fine. And I'm going to click on bake, we'll pieces. And here we go. Alright, now that we've got that, we should be able to come over to our layers panel. I'll click Remove layers here. And let's drag over a material that we want for this. I'll click the X here. And what do we want for this? Well, I want a shiny material, but I still think I want a painted it's a painted metal, so I'm going to type paint. And we've got steel paint here. So I'm gonna click and drag and drop that over here. Now you can see it there, but I want it to be black and I want it to be shiny. So let's first of all change the color. I'll drag it over into the black here. Maybe something like this. And down here we can decrease the paint roughness. So I'm gonna click and drag and drag this down a bit like this. So it's a little bit shinier. I'm going to hold the Shift key and right-click and drag and move the light around. Yeah, that's, that's kinda nice. Let's see how that works. Now we've got a rust setting down here. Let's just see what happens when we play with this a bit. I'm going to click and drag on this. What happens here? Yeah, we can begin to see some rust there and that's cool. But I don't think I want it for this. Now we can change the pattern of the texture in here by clicking random. We can change what we see here and that's not bad. Then if we go up here, we can change once again the rotation and the tiling. If I click and drag up, that's really not doing what I wanted to do. That's getting a little bit too much there, I think so I'm gonna go back to one. I think that's good. There we go. So now we've got the tire, the wheel, the spokes, and those we'll pieces here in the next video. Let's continue with this. Maybe let's work on using the material that we just created here. This steel painted and putting it on the chassis and other parts of the bike that need that black metal. 95. Texturing the Chassis and Front Fork: Now if you ever want to go back and adjust anything, of course you can go back to say the wheels here and maybe I want this rim to be a little shinier. I can click on the color swatch there and let's bring the paint roughness down just a little bit. So we get a little bit more of a shine there. And we can press Shift and right-click and move the light around to see how that looks. And yeah, I think that's pretty good. Let's go with that. Now. The Chrome, maybe I want the Chrome to be a little bit lighter color. I'll come over here to the swatch. Maybe drag the value up just a little bit so they're a little bit wider. Yeah, Something like that. So you can always go back and adjust these as we add more and more textures. Alright, let's work on the chassis and add that black material. Now, I'm gonna come over here to the wheel pieces. And I'm going to right-click on this layer and choose Copy layer. Right? Now, I'm gonna come over to the chassis. Let's delete this paint layer and right-click and paste layer. There we go. Now we've just pasted that same material on everything involving the chassis. And I think that looks pretty good. Now, this is a separate thing. We can go ahead and adjust this independently of the previous layer. So maybe for this on the chassis, we want it to be a little bit shinier. We can come down here to the roughness and drag that down just a bit to make that a little bit shinier, we can go back to the wheel pieces and drag the roughness up a bit to make that a little bit less shiny. So there's a difference between the two. Alright, What else needs that black material, this engine guard, let's do that. So now let's go to the chassis. I'm going to copy this one, copy layer and let's go to the engine guard here. And you know what I didn't do and it worked out okay, because this is a very simple object with a simple material. I didn't bake the textures of these. So let's take a look again at the chassis. It worked out. Okay, but yeah, let's go ahead and bake the mesh maps here and it'll work a little bit better. So I'll go ahead and keep with 2048 again and I'll bake the chassis. There we go. Now we can see those here now, did I bake the wheel pieces? Yes, I did those. And the wheels. And the tires. Okay. So we've got that and the chassis Now good for the engine guard. We haven't done that. So I'll bake the mesh maps here. And for this, it's a smaller piece, right? It isn't as big on the bike is the other parts. Maybe I can take this down to 1024. Well, let's try that. Let's just try a one k image and see if there's any difference. So I'll bake the engine guard and let's see how that goes. Alright, there's our engine guard. Let's click. Okay. And then let's go back to the layers panel. Let's delete this and let's recopy this chassis material here. Copy layer. Go over to the engine guard and right-click and paste. There we go. That looks pretty good. Now, do we see any of the scenes that were in this? I do recall we had seems kind of fairly prominently on here and we're really not seeing them too much. You could see something right in here. It's very hard to see you and see something in there. I don't really know if that's a seam or not. If you are seeing seems in something like this. I had mentioned that there's a projection method called try planar projection. And if you click here, now, that really clean that up there, right? What that does is it creates a big box around the object. You can come up here and just turn that off if you like here. And then with this triplanar, sometimes you need to come in and increase the tiling to get it to look similar to the others. So I'm going to increase the tiling here. Yeah, so we can see that just a little bit better in there. Yeah, that's, that's kinda nice. So if you are seeing seems from our UV mapping in Blender, try this, try planar projection. And then you can turn off the box here. And then you may need to increase the tiling just a bit as well. Alright, What else needs that color? Well, there's a lot of pieces up here in the front fork that need this. So let's come back over here to the chassis, and let's then copy this again. And now let's go over to what we did, the engine guard, Let's go over to our front fork. Here it is. Yep, we need to bake the maps here. So let's do that. Bake and the front for cats are a lot of small intricate pieces. So I'm going to increase the size of the map back to two k. Bake this. Now that this is baked, Let's click Okay, go back to the layers. Remove that layer for now. Then let's just paste this in here. There we go. Now we've got some materials in here that we don't want to be this black. And we're going to need to use our black mask again to add those colors in here. So let me drag this over and let's take a look at this. You can see here we've got kind of a UDL metal here and a not so shiny metal here. So let's work on those. We've also got Rome at the top of the springs. And we've also got a silver screw right here and some black plastic. So let's see what we can do with this. I'll drag this over and let's first bring in that rough metal. I'm going to hit the X here. Let's type in metal. And I've got this iron rough. That looks pretty good. I've got iron rod. Well, let's go with the iron rough for these metal strips here. Let's do that. Iron rough Here it is. I'll drag that over here. And now we can't see it because it's at the bottom of the stack. But let's drag it to the top. Add a black mask. And now I've still got my polygon fill tool selected over here, and I've got my fill selected here. So let's just go ahead and click on this. There we go. It's come around here. Click on this. Yep. And then it looks like we've got one of those things here. It looks like from my reference image, we could add this one right here, maybe this. And let's go ahead and get this right here, this up here. And we'll do the same thing over on this side, right here. There we go. Okay. Let me click back on the silver here so we can get rid of the wireframes. Yeah, that's looking pretty good now. I feel like I want a different kind of metal here because this is part of that shiny black metal here. So let's find a different one. How about this iron rod damaged? Let's try this. I'm going to drag it over here. Put it on top, and I'll right-click, add a black mask, and let's add it to this and this, and Ds here. Then let's add it to these ear. Then let's do some adjusting. So I'll click back over on this material and let's come down and work on the color. I feel like it needs to be a little bit darker, so I'm gonna come down here, drag that down a bit like this. Yeah, there we go. And then also, I don't want it to be quite so shiny, so I'm going to increase the roughness. Here we go. And then on the top here we've got some Chrome. So we're going to need yet another material for these. Let's come over here, close this type in Chrome, and there we go. Let's drag this straight onto the top. There it is. Let's add a black mask. And then with the mesh fields still on, let's just click here and here, here and here. Then if we click on the Chrome right here, I'm going to make it a little bit brighter, like this. There we go. Something like that. What else do we need here? Well, I think on this other side, we could do something a little different with this. I'm going to click and drag. There we go. So once again, you can see that that black painted metal is on here as well. So what I wanna do with this is maybe put a plastic on here. Let's click here. Type in plastic, and I've got this glossy plastic here. Let's use this. I'm going to drag it over here, drag it up to the top, add a black mask, and then choose this right here. There we go. Now I'm going to click on that blue plastic again and I'm just going to come in here, take it to black. Make it a little bit shinier like that. It isn't too different. Yeah, but it's a little bit too shiny. Let's increase the roughness here. Alright, and then this right here, maybe we could take, I think this requires a Chrome, so maybe we could come back to the Chrome here, select the black mask for this. Come in here and just select this. There we go. Alright, I'll click on the Chrome again here, so we lose the wireframe. There we go. So now we've got the front fork pretty much taken care of with our materials. And all we did is just use a black mask and our poly fill to just add different materials within this overall texture set. 96. Using a Generator in Substance Painter: Now let's try something a little different. Let's work on the seat here. And one of the things we can do with the seat or any of these actually, let me just choose the seat. We can actually isolate it by coming up here and clicking here. And now everything hides except that one. And we can click here again, and it'll come back. And we can also hide or show all invert, et cetera. But for this I'm just going to click here. And you can also press Alt Click here. But then I'll click does not bring everything else back the way control-click does in Blender. And then you have to come up here and choose Show All. So I just like to use this one here to isolate it. Alright, so let's zoom in a bit here, and let's think about what we wanna do with this. Well, we're going to need a leather material for the seat itself. Let me click this and remove that paint layer. And then down here we're going to need kind of a dull metal and that black metal as well. So let's first of all do the leather and then we can use the black mass trick for all the other pieces. Let's come over here to the texture set settings. Bake our maps. And for this, let's just go with 2048 and big seat. Alright, now let's find a leather material or come back over here and click the X type in leather. And we've got leather bag. Another plane I like this one. Let's go with this one. I'm, I click and drag. I need to first open up the Layers panel and then I'll click and drag and drop that in here. And that's not bad as it is actually. I may want it to be a little bit brighter and let's see what other settings we have down here. We've got advanced parameters and we've got main, which is the color, folds, et cetera. We've got aging dirt, we've got blood splatter if we wanted that. So we've got quite a bit that we can work with down here. First of all, I think I'll just make it a little bit lighter with the value here. Bring that up just a bit. We've got a leather folds scale. Let's take the scale up to 100 and see what happens. Let me take it down to 25 and see what that does. That's nice. Let's bring down the folds intensity. And maybe I'll come up here and click on rotation and turn it a bit. Maybe I want it to go this way just a bit more. Let's go this way. Yeah, like this. I think I want it like that. Let's try that. Then let's come down here and look at the dirt properties. We can increase the dirt intensity here and the dirt colorize intensity. And maybe I want to make the dirt color a little darker. Let's take a look at that. Maybe I'll click here and just drag down in the value just a bit like this. That doesn't do a whole lot, I'm afraid. So if I want to add some extra dirt in here, I could do that by adding a generator. So let me first go into here and find a material that would be good for a dirt. I'm going to type in rust and let's maybe go with this. I kinda like this for a dirt. Let's take this and bring it over and drop it here. Now it's underneath so we can't see it very well. I'm going to add a black mask to this up here to turn off the wireframes. I think I'll come over here and just click on the brush just so we can see this a little bit better. And I'll right-click on the black mask, choose Add generator. And for the generator, let's add a dirt generator here. Alright, so what does that done for us? Well, it's allowed us to see these two materials, but I feel like there's too much of the rest here. Now we can bring the dirt level down a bit. Let's try that. Let's just take it all the way down. But when we do, it takes away that material there. I don't want that. So what we can do is come over here to the invert setting and turn that on. And that'll just flip it that we're seeing more of the material up here and less of the rust. So now we've got this dirt ish material here that we can play with. So let me see. I kinda like that the way it is spotty there as if someone's been sitting on that for ages. I kinda like that. Now we can come down here and increase the grunge just a bit, maybe a little bit too much, increased the scale. That's not bad. And we can also go into the micro details here, but I don't think I want to spend time doing that. I think that's kinda nice. Actually, I kinda like that. The only thing I wish I could do here is change the color just a bit. I think I want to make this a little bit lighter and more into the orange just a bit yeah. Like that. Yeah. Now maybe a little bit darker. Let me bring that down just a bit. Yeah, something like that. I kinda like that. It looks a little older and as if it's been used quite a bit. So let's go with that for now. I kinda like that. Alright, for the pieces down here, Let's first of all work on that black. I'm going to come over here and enable the chassis. Click on the chassis here. And I'm gonna copy that steel painted material from the chassis. I'll hide that. Come back over to the seat. Here we go. And let's paste this in here. I'll right-click and choose Paste. So now I've added that over everything here. I don't want to do that. Let's right-click. Add a black mask. Then I'll go over to the poly fill, choose the mesh. And I think I just want these things here to be that steel. So let's choose this, this here. Let's choose some things over here. I want this and this, and this, and this to be that black. Oh, and also this here. Alright, and once again, I'm looking at a reference image over here on my other computer monitor. So as I said, I encourage you to do the same. And I'm going to click here. And one of the problems we're having is the height of the rust is passing through here. There are a couple of ways that we could probably take care of that. One is to go ahead and add a black mass to this. Let's do that here. And then let's choose just the seat here. And maybe this year as well. There we go. So now the height and the roughness is being contained here on the seat since we created a black mask for it. And now the steel painted, the smoothness is coming through there. So that's good. We've got something happening here that may be from another UV map will have to take a look at that. But let's add that rough metal to all of these and see how that works. So I'll come over here and type metal and let's use what did we use that iron rough I think was pretty good. So I'll drag that over here and I will drop that on the top of the stack. And then I'll create a black mask. And let's just go through and select the pieces that we think need this material. Here, here. Here. Let's get this. This. Alright, so there we go. We've got our seat. Let's bring everything else back. I'll click over here. And oh, that isn't bringing it back because I chose it individually. Recall, I turned on the chassis and then selected this again. So I need to come back up here and choose Show. All. There we go. Alright, so there we've got our seat. I feel like the last thing we need is it needs to be a little bit shinier. So where is our roughness here? Is it under the basic parameters? Yeah, I'm going to drag the roughness down just a bit for this, a little too much. And then I want to do the same thing for this right here. Let's see if we have, yeah, we don't really have a roughness channel here. Although we could turn this off here. Let's try that. That gives us a little bit more shine. And maybe I'll turn off the height because we've got some bumps happening that I'm not real Fondo. So that's part of the height map usually. Yeah, that's smooth that out a bit. So I'm just trying to find something that I like here with these two materials. And I think that's pretty good. I wanted it to be kind of shiny as if someone has been using it a lot right? Over the years. Alright, so we've got our seat. In the next video. Let's find a few more materials are a few more objects that have this black shiny material on it. 97. Continuing with the Black Metal: Alright, what are the pieces need this shiny black material. Let's come over here and I'm going to copy the chassis once again. And I think this oil tank and battery. Let's take a look at that. I'm going to click here to isolate it. Let's zoom in and take a look. Yeah, I think for this, we've got mainly the black material here. The black material here, and then we've got these little tubes and the wing nuts. Let's take a look at this. I'm going to delete that paint layer and then right-click and paste in here. So that gets us this. So it's not bad. I think I may take that pink color down a little bit more black, and also may take the roughness down just a bit, maybe. So it's a little shinier. And do I want it that bumpy? Let me take away the height and see what happens. Well, That's kinda nice. It just makes it really smooth. And then it looks to me like we could add a metal material to all of these. So let's do that. Let's try this Iron rough again. I'll drag over here, drop it on the top, and let's create a black mask. And then let's go through and choose what pieces we want to have this metal. So maybe these, these here. And I think just the top part of this like that. And this one over here. Let's do this. Alright, so we've got that. I'll click back over to the metal so we can see it without the wireframes. And then I think I want to take this down some like this. And I feel like I need to swing it into the brown are the yellow just from the reference images, this part seems to be a little bit browner. And do we want to play with the actual tiling of this? We could increase the tiling a bit. We wanted to try that. We could also come down here under finished and maybe increase the scale here. Try that. See what happens. That's not bad. Alright, let's come back over here and turn everything else back on. How's that look with everything else? Pretty good. Alright. What else? This black material on it? Well, it looks like this electrical box has that too. So let's add that box electrical, I'll choose that here. I'll isolate it. Let's zoom in. I'm going to remove this layer for now. Let's just try and paste and see if we still have that black material in there. Yeah, We still do. Okay. This could be a little bit darker once again. And maybe a little shinier. We could reduce that height again. Where was that? That height range? I think it was. Yeah, that's smooth, that out a bit. That's kinda nice. And then looking at the reference image, it looks like we need a couple of metal pieces here. So let's go back to the well with this iron rough and drop that on top. Add a black mask and let's just choose these. And I'll choose these and maybe this. Let's try that. I do want it to have a little bit more character to it and I kind of seeing seems here. So let's come back up and changed from UV projection to try planar. We can still see one of those there. I'm not seeing a definite place where this is. It could be in here. And this is something that we're gonna be able to do. We're gonna be able to go back into Blender, re-adjust a couple of these uv maps, and then bring the model back in without losing what we've done in our layers. And we'll go over how that works here pretty soon. But for now, let's just keep in mind that we may want to come and do that for this electrical box. Now, did I bake my textures for the oil and tank here, let's try this. I'm gonna hide this and come over to my texture sets. Now I did not bake these either, so let's go ahead and do that. I'll keep it 2048. And do that. There we go. Alright. I think that might help just a bit. Yeah. So as you're going through, it is important to be sure and bake those mesh maps so that substance painter can use your uv maps to help with the texturing. And we did this seat, right? Yes, we did the seat. And the oil tank and the box over here. Okay. Let me bring the box back here. Let's go over to the 3D only again. Let's bring everything back, Show All. And let's take a look. Yeah, That may be something that we need to deal with in Blender. We can reuse the map, this part. We could also just take that piece and spin it around so we wouldn't be able to see that part. But I'm not sure exactly what that is. Now, while we're here, there's all these cables. Let's go ahead and grab these. I'll come over here, choose our cables in tubes right here. I'll bake the mesh maps with the two k image again, just click here. Alright, here's our mesh maps once again. And then let's just go over to the layers and let's just drag over that rubber material that we used before. Let's just grab this. Drag it over, drop it. There we go. I think that'll be fine. We could maybe adjust the color so it isn't quite so dark. We could bring up the value of bit so we can see them a little bit better. And we can also increase the shininess by decreasing the roughness a bit. We could do that. And let's take a look there. Yeah, I think that's I think that'll work. Good. Now, in the next video, Let's go ahead and talk about how we go back to Blender, make a fix, and then bring it back in here without losing all the work that we've done. Let's talk about the gas tank because if I'm correct, if we look at the gas tank, go to our 3D and 2D view up here, we can see that our UV map hasn't been packed properly within the zero to one space. We've got a whole lot of overlapping UVs. So we'll talk about what happens here in Substance Painter, if we have this and we'll talk about and going back to Blender and fixing it. So that's coming up next. 98. Fixing UV Errors and Reimporting to SP: Alright, let's now take a look at the gas tank. I'm gonna come over here and choose it here. And then we need to go over to our texture set settings, the mesh maps. And of course, let's take the mesh maps here. I'll just click Bake a gas tank and let's see how this goes. And I'll click Okay. And let's take a look at it. It does not look good, right? What has happened here? Well, I think what we're dealing with is a UV map that hasn't been packed, that wasn't packed within that zero to one space. So there's overlapping islands. In fact, let's go over to our 3D and 2D view. Actually. Go to the 2D view here and take a look. I'm gonna go ahead and delete this layer here so we don't get the brush on our cursor currently. And so here it is. Yeah, it looks like I never went back and selected everything and used average island scale and then pack islands. So we've got a lot of overlapping UVs, which is causing the problem here. So the question is now, how do we fix this? How do we go back, fix it in Blender, and then come back here, bring the fixed uv maps back without destroying all the work we've done so far. Well, let's give it a shot. Let's go back to Blender and see what we can do. Alright, here in Blender, Let's go back to the UV Editing tab here. And I'll tap back into object mode for a moment so that we can come over here to the gas tank and right-click to select objects, tab into edit mode, hit the a key, and here we go. I'm going to press Control and Spacebar. And this is our problem. I never packed islands in here. In fact, what I'm gonna do is hit the a key and just ensure that we've got the scale averaged. I'm going to click average island scale here, and I did not. Okay, so then let's come up here to UV and pack islands. And there we go. Alright, so that looks a little bit better. We've got a very small margin scale here. We could change this to 0.01 and see how that works. Yeah, that pulls things apart just a little bit more. That may be okay. Alright, I'll press Control and Spacebar. And so now what we need to do is re-export this. I'm going to press Control S and save that. Let's go back over here to the Layout tab and all our materials are still on here. The material colors are still here. So we just need to export this again. Let's go ahead and do that. I'm going to hit the a key to select everything. File, go to Export, FBX. And I'll put it in the exports here. This time I'll call it motorcycle to, I'll just hit the plus key on the numpad. Choose mesh for the object types and selected objects here. Alright, so let's export this again here. And now let's go back to Substance Painter. Alright, here in Substance Painter, what we need to do is come up here to Edit right here, and go to project configuration. And in here the only thing we really need to do is come in and select our new FBX. So let's click Select, come in here and choose the motorcycle version to click Open, and then click Okay. Now it's going to take a little time here. It could take a few minutes to re-import this and apply everything again. So be patient. Alright, it is done now. It really doesn't look like anything's changed. But if we go over n, choose r gas tank here and switch back to 2D only here, we can see that the UV map has changed. Now all the basic information is still on all the pieces. So we do need to rebate the mesh maps. Let's do that with the gas tank selected. I'll come back over here to the texture sets settings. Let's click on bake mesh maps and click on big gas tank. And here we go. Alright, it is done. That looks a little bit better, but it's got all these kind of dark areas on it. And that's just the ambient occlusion interacting with the other objects around it. So let's go back to the 3D view and take a look. There we go. Yeah, I think that looks a whole lot better now. So if you find yourself with a problem with a UV map, you can go back and fix that and bring the whole model back using this project configuration. So now why don't we try and add a few textures here. I'm gonna go back to the Layers tab. And in fact, what I'm gonna do is isolate this. I'll just click here so we can only see the gas tank. Now. Let's start working on the gas tank here I think what I'll do is sample the color from a reference image. But let's first establish what color that's going to be or what kind of material that's going to be. I've got some car paint materials in here. Maybe this car solid, I think let's try this. I'm going to drag this over and drop it here. And then I'm gonna go ahead and add a black mask and now go to polygon fill over here. Choose mesh, fill, and then click on the gas tank here. Alright, so now we've got that color on there. Let's change the color now. Let's scroll down, click on the color swatch. And instead of trying to change the color here, I'm just going to sample a color burst or click on the eyedropper, click on the reference image, and there we go. We've got it a little bit closer now. Now I can come in here and do a little bit of tweaking if I want, maybe I'll take it down a bit like this. Yeah, I kinda like that. I'm going to shift and right-click and drag the light around. Yeah, that looks pretty good for now. Let's do that. I think we're going to need that down here as well. So maybe I'll click on the black mask again and then click on this piece right here. We're going to need that to be the same color. Alright? And then we're going to need a few other colors. So I think up here we're going to need a Chrome. Let me grab that. Drag it to here. I'll just put it on the bottom and then let's add a black mask and select this and this over here. And let's select it. And then I'm going to make it a little bit lighter here so it isn't quite so dark. Do that. And I think I want to take the roughness down a bit. I want to get a little bit more of that sharp reflection in there. Yeah, like that. There we go. Now I need a rough kind of metal for this and this down here. So let's go get that type in metal and I'll use iron rough again, that's been pretty good. I'll right-click Black Mask. Let's select these pieces down here. This, and this. These here. There we go. I think that's pretty good. I think I want this to be a little bit darker and actually move in toward the yellow just a bit. Some of this metal seems to be kind of a yellowed. So I want to do that. Then let's go ahead and just add that on this as well. I'll just click here. I think that'll be fine for that. Alright. Now this piece here I think should be Chrome. So I'm going to click on the black mask for the chrome and click on it to do that. Alright, and then this is kind of like that painted metal again. Let me just grab that straight though. I'm just going to come over here, type in paint. Here's that steel painted. I'm going to drag that over here. And I just want to do this new add a black mask. And let's just select this. And we go. And let's make it black. And let's take the roughness way down. There we go. So it's kinda shiny, but I still like the little imperfections we're getting on that. I think that's kinda nice. I may want to reduce it some, maybe if I go to the technical parameters and bring that height range down just a bit. Height position. Maybe bring that down a bit, and then maybe bring the roughness down even more so it's a little more shiny. Yeah. Something like that. I just wanted it a little bit different than the rest of the black shiny stuff. There we go. Alright, let's come over here and click on this to bring everything else back. And now we've got the gas tank and we've also seen now how to go back and fix a UV map and bring it back without losing our work. In fact, speaking of not losing our work, Let's press Control S and save the scene. 99. Adding Materials to the Handlebars: Now let's work on getting some materials on the handlebar. I'm gonna come over here and choose the handlebars. Let's delete this layer and bake the mesh maps. I'll go ahead and leave it at 20:48. Alright, that's done. Let's go ahead and isolate this. I'll just click here so we can just see the handlebars. And first of all, I guess let's add the Chrome. There's quite a bit of Chrome on here, so let's do that. I'm going to search for Chrome again and drag it over here and drop it. I feel like it needs to be a little bit brighter and a little bit shinier. So let's do that. I'm going to drag this up a little bit here and then Chrome roughness. Let's drag that down till we get it. A fairly sharp reflection in there. At least that's the way I'm seeing it here in the reference image. Let's go ahead and add a black mass to this so we can go through and pick which parts we want to have Chrome, I'll click here and here. And then it looks like in here we need all of these pieces. So I'll click this and this, just all of these here, except for this one. I think that one needs a rougher material, so I'll wait on that. And then we also need these over here. But if we click here, it'll put the chrome on the whole thing. Well, we can do is instead of mesh fill here, we can use our UV chunk fill. Just to remove this temporarily, I'm going to take this slider and drag it all the way down and then click and that will remove it off of that. And then let's go back to the UV chunk. Do they call it chunk? They call it chunk. Yes, they go. So I call it UV islands, they call it UV chunk. Let's go to our 3D and 2D view. Now, let's figure out where this little chrome piece is. I think it's these here. Let's zoom in here. Because I'm looking for the handles here. These are the rubber handles here. So I think these are these little chrome pieces here. So instead of using the Nashville, we can use the UV chunk fill and just click here. And it will just add the material to that UV Island. And I'll do this one over here as well. There we go. So now we've got them there. Now we can bring in a rubber material and do that same thing for these two uv islands here. Let's try that. So I'm going to bring this over here like this. Let's hit the X here, type in rubber. And I'll use this vulcanized Rogge and I think that's pretty nice. Let's click and drag and drop that over here. Now it's already put it on the handles, but it's also put it on all of this down here, which we do not want. So what I'm gonna do is add a black mask again. And then with the UV chunk fill selected, I'll just click here and here. And that adds it to that. However, we've got these, so I can go ahead and click these and that will add the material to those UV islands. And over here as well, we can do this right here and here, but I don't think I got the inside of that hole over here. Let me see. Yeah, I didn't. There we go. Alright, so let's take a look and see what we think. I'm gonna go back to my 3D only. Get like there's a little bit more we need to do with this. It's kinda cool. But if I look at the reference image, there's just a little bit more going on here. So maybe over here in the properties, let's try increasing the tiling, and that adds a little more to it in there. We could also come down here. I'll decrease the roughness a bit. Let's do that. So it's a little bit shinier because a person's hand would be there all the time and that would get a little shinier. Let's try age. I don't know if this is actually going to do anything for us, but yeah, that adds a little bit of interests to that right then. Is there anything under here technical parameters that we want to deal with? I don't think so. I think this looks pretty good as is. Alright, so I'll go with that. And then the rough ER, metal here, I feel like maybe that iron let me type iron and we had a iron rod damaged. Let's try that. I'm going to drag that over here, drop it in, and there we go. So is that I feel like that's a little too much. And we've got seams here. Look at how prominent the seams are now here. So as I said, sometimes that happens depending on what material you are using. Let's try changing our projection from UV to try planar. That does not help us a whole lot now, does it? If I increase the tiling? Yeah, let me. At a black mask and isolate this to just this area here and this area here. Let's try that. So we're still seeing quite a bit of seems there. Is it gonna do it on other materials? Let's try maybe iron rough with this selected. I'll just click this and it'll drop that in there. And that helps a lot actually to remove those seams. So you can see here that just dealing with a particular material is really, can really make a difference in whether or not you're seeing the seams. So I'm going to make this a little bit darker here. Let's check what we have under Finish. And I think I'll increase the scale. Yeah, I think that's good. And then maybe the brushing intensity, Let's try that. Yeah, that adds a little bit more to it. I like that. So yeah, there you go. Interesting how some materials really emphasize the seams and others don't. With that done, let's go ahead and come over here and click on the I here to bring that back. And let's work on the brake lever now let's do that right in here. So in my reference image, it looks like we've got chrome. Well we've got chrome on this and on this. So first of all, let's switch over to the brake lever right here. And we'll go ahead and isolate it. And I'll bake the textures for this. We probably don't need it to K texture. I'm just going to go to one K 1024 and bake that since it's so small on the overall piece. And I'll click Okay, I'll delete this layer here. And let's bring the light around. Okay, so now Chrome, Let's bring Chrome in right over here. And I think we want Chrome on the handle here. Let me bring it up here like this, so it's a little bit brighter. And maybe bring the roughness down some. There we go. So I think we're going to want Chrome on these pieces. I'll add a black mask and let's go through and choose it so that, that handle, maybe one of these screws here. And I think everything else is a fairly dark material. I'll add it to that as well. Okay, so everything else I think is going to be a darker material. Let's go back to metal. And for this, let me try steel rough. Let me try this. I'm going to drag it over and drop it. Yeah, That's kinda nice. I'd like to make it a little bit darker. Like this. Yeah, something like that. Yeah. Let's bring everything back and see how that looks. I'm getting some on the other, so I better add a black mask to this. So I don't get that steel height and roughness on the other things. Oh, and look what I forgot to get here on the handlebar. I'll need to go back and grab that. So I'm just gonna go through and add this like this. Add this material to these pieces. Alright, let's take a look. Yeah, I think that's pretty good, but I do need to go back and deal with this on the handlebars. So let's just do that real quick. Let's come over to the handlebars right here. I'll select the black mask of the Chrome here. And let's choose UV chunk fill. I'll click there. And over here, there we go. All right, we're coming right along, I think in the next video, let's add more of this black material to all of this area down here. 100. Adding Materials to the Chain Guard and Exhaust Pipes: I'd like to add more of this black material. Let's go back to the chassis. And I will copy this layer here. And then I think this chain cover, is that what I called it? What is this chain accessories? What is this? Yeah. Let's take a look at this. I'm going to bake our textures here. First. I'll click Bake mesh maps, and let's make this 2048. Now with that baked, Let's go over to the Layers tab and let's paste that layer here. And that puts it on just about everything. Do we need it on just about everything? Well, we could add some Chrome to this right here. Let's do that. I will grab the crown. Well, I was going to type in Chrome, but it's right here. I'll just drag that in and I'll drag it to the top. Add a black mask. And let's just choose this piece right here. Alright? Once again, I'm gonna bring this up some, so it's a little bit brighter. And I want to take the roughness down quite a bit, so it's a little bit shiny or here. I don't want it to be quite that bumpy. Oh, it's because we've got the paint coming from or the height and the roughness coming in from the steel painted layer because I haven't added a black mask to that. So that's why we've got that texture coming through. So I'll go ahead and add a black mask here and then choose this and that should allow, There you go. That allows that to be a lot smoother there. And we want to add our steel painted to this right here, to this right here, to these little rivets in here. Let's do that. For back in here, I think I want to use the wheel pieces material. Remember that, that was here. Let's turn this on and go back over here. And I'm going to copy this right here because we altered this just a bit, I think. And go back to chain accessories. I'll hide the wheel pieces. And I want to put that in here. Let's paste this in here. There it is there. And let's add a black mask and just choose this. Alright, Let's go ahead and change the name here. I'm going to call this chain guard. And I'll call this one gear just so we know which one this is and which one this is. Okay. And then for these little pieces, the bolts and the rivets, I think I liked that steel. Let me go back to steal this steel rough. I kind of liked this. Let's go over and drop this here. And then I'll add a black mask. And let's just choose these guys here. All of the little rivets and bolts in here. Alright, so now that we've got that, I'll click here to get rid of the wireframe. I'm going to take these down. So they're a little bit darker, like this. Here we go. So I just want him a slightly different material and shade than the other things there. And let's take a look in here. Maybe I'll increase the scale right up here. Or the tiling, I should say. Maybe something like that. Alright, let's see how that looks with everything else brought back. I will come over here and choose Show All. And then let's go over here and deal with the exhaust pipes. I kinda want to put the Chrome on here. Let's go over to the exhaust pipes here. Let's delete that. Bake the mesh 2048. That's good. Alright, now we can maybe bring that Chrome over. Let's do that. Click here, drag it over here. I could have just copied it from, say, the handlebars, but I'll just go ahead and make it a little bit lighter. Take the roughness down quite a bit like that. And there we go. Okay, so now we've got that. But also, I think underneath here, I wanted to make this black right to match the chassis and the other black pieces because in the reference image it really looks like they've changed the color of the exhaust pipe coming out of the engine. So let's do that. I'll go over to the chassis, copy this. And actually before I do that, I'm going to just call this chassis here. And I will copy this. Go over to the exhaust pipes. Let's paste this right here. And then let's add a black mask and select this guy right here. There we go. If you recall, we split it out just for this purpose. Alright. Here we go. Alright, I think that looks pretty good. I think what I'm gonna do is continue on with this once again off camera because there's gonna be a lot of repetition doing things again and again. And this is really about establishing the basic materials. I know we've been tweaking quite a bit here, but I just wanted to get the basic materials down. And then in the next section, let's go through and add a little edge where a little dirt, a little grunge. Not a whole lot, but I just want to give it a little bit of a sense that it's been around awhile that it's had a bit of use. And I think it adds to the realism of the project as well. So as I said, I'll continue on with the materials here. And you should go ahead and establish materials just like we've been doing here on the rest of the bike. And then in the next section, we'll work on edge where dirt and grunge. 101. Using Generators, Groups, and Grunge: Well, I've finished adding the materials to the motorcycle and you can see them here. I haven't done everything. I haven't put the headlight on yet. I haven't put the speedometer on yet. We'll work on those here pretty soon. But generally speaking, I've got the majority of the materials on. And now what I'd like to do is go in and just add a little bit of where a little bit of dirt, just try and make things so they aren't quite so pristine. Now, as I mentioned, I'm not going to go crazy with this. I just want to add just a little bit of wear and tear and that's all. So currently I've got the electrical box selected. So let's just go ahead and begin with that. I'm going to click here. And I will zoom in. And let's take a look. So I've added another material on here so that the seams aren't quite as prominent. And I think that's helped. But well, let's do now is maybe add a little bit of rust and where to the black parts here. So that'd be the steel painted here. Let's see. I'm going to type in rust and let's just go to this rust course. Let's try this. I'm going to drag it, drop it under here. First of all, I'm going to add a black mass to this just to ensure that we're only working on this now, I'm gonna come over here to the poly fill here. And of course you can see how the black mask is allowing the rest to come through. But let's choose Nashville and just start clicking in here. Add the black back into here, like that. Alright? And you can see that the roughness is coming through not only here, but also on the silver metal parts. So let's go ahead and maybe take this mask here. Copy the mask, come down here, and paste the mask here. Alright, so now we've got that. You can see the height has come off of the silver parts now, so that's good. Let's then come back up here to the mask for the steel painted. And right-click, we can go to add generator here, or we can also select this and come up here to add generator here. So let's just do that. And now let's add a certain kind of generator. I want to add a metal edge generator here. Now it's seemingly inverted, right? So we can just come over here. And under invert, we can change this to true. And here we go. Now we've got some edge where happening. But it's not quite what we want. So let's take the where, leveled down, the where contrast down. Maybe a little more here. Yeah, there we go. We're beginning to get that. And then maybe I'll take the grunge amount. We can play with the grunge scale and see if that does anything that we like. I also like to bring up the edge smoothness here. I think that's kind of nice. So you can see we're just getting that rust in here on the edges. Now, I think I will take this and turn off the height so that we don't get it coming through. Now, we could also come in here, select this, change it from base color to height. And then we should have the ability to bring that down some in here so we can keep some of it, but not all of it, right. I think I like it, maybe like this. So you can come through for each of these and change the individual channel here. So I'll switch back to the base color. There we go. And I think I'd like to change the color of the rest. So let me come down here and maybe just take it a bit toward the gray so it isn't quite so bright there. Let's try that. Yeah, something like that. So it's just kinda subtle. But I think works. Okay there. Yeah, let's go ahead and press Control S and save our scene. And then let's come over here, show all. Now let's go to the brake lever. Let's see what we need to do here. I'm going to hit the F key. For this. I don't know that we need a whole lot. We could just maybe select the material here, that chrome material and just work with the settings that are already in the material. So we could bring the roughness variation up, the surface imperfections, the dirt, and the scratches. Just kinda see what we get with this. Is that giving us anything? Yeah, That's giving us just a little bit in there. Maybe we could come up here and increase the tiling. That's giving us a little bit more than we had in the Chrome. So now we could do this again. We can take the rust and drop it in here. We can select this black mask and add a generator. And we could use our metal edge where we could invert it. And here we go. So now we've got a little bit of rust in here. I will take this mask here and I will copy, copy mask here. And let's paste it here. And we of course need to remove the edge. Where there we go. We could bring the where level down, where contrast, grunge amount. So we could just give this a little more oomph to it. Maybe bring the edge smoothness up quite a bit. And we can also play with the curvature here because. This edge where is using the curvature map. So we could bring this down a bit or up, we can increase or decrease it here with that curvature weight. So there we go. Alright, let's bring everything back. And then what's next? How about the brake pedal? Let's see what we can do with this. I'm going to hit the F key to frame it up. And here we go. For the brake pedal. Let's do something similar. Let's just take the rust and drop it right here. Now we need to isolate it just to that petal. So let's give it a black mask here. Let's use our mesh, fill and select this and this. And then let's select this black mask up here on the iron added generator. And our edge where here. Alright, so now let's invert it. Let's take the wear down, not too much the contrast down. I'll bring the grunge up, maybe the scale up a bit. And maybe that's all we really need there, something like that. I think I'll maybe take this and change the height here, bring this down some so it isn't quite as bumpy. Let's go back to the base color and maybe I'll actually change the color of the rust as well. Maybe something like this over here. There you go, something like that. Alright. Now if we look at it, we can see that we've, even though we've added a black mask here, we've affected this as well, that edge where it has come down into here. If we disable this, you can see it comes back the way we had it. So how do we isolate that generator? We can create a folder to isolate it. We can come over here at a group. Here it is. I'm going to call this petal. And I will take the iron rough and the rest into here like that. And we go and then I'm going to isolate just the group. So we're going to add a black mask to that and then select this piece here. And this, I think that gets all of it. Yeah. Alright, so now you can see that we've taken that and isolated it within a group, within a folder. That metal generator no longer propagates to all of this, right? So now we can take this, we can add a generator to this. We can use our metal edge where you can see that here Let's flip it inverted, and there it is. Now we can drop anything we want in here. I've just been using this particular material because it's been convenient. But we could also just add a filled air in here. If I click here, take that fill layer and pull it down beneath there. Now we can change the color to whatever we want within here. So what I'm gonna do is maybe move the color over to about here, let's say. And I will also bring the metallic all the way up. And then we could also add just a little bit of grunge inside that edge where, right. So we could come in here to the base color. We could click here, and we could type in grunge. Now we've got all kinds of grunge possibilities here. We could also type in metal, and we've got this grunge rust, fine, so we could add this in there. And now you can see it adds a bit of texture within that edge where, which is kinda cool. So if we come back up to the edge where now, and I'll bring the wear down a bit like this, bring the contrast down a bit. Maybe we could bring the grunge amount up and the scale up, smoothness up. So you can begin to see we've got the edge where, but we've also got some information, some grunge within the edge where as well, which is always kinda nice. Maybe I'll expand that out just a little bit more like this. Yeah. Kinda like it bleeding out onto the other parts of it. There we go. Alright. So there is our petal. Let me click here, bring everything back. And yeah, so let's keep going here and see what else we can put some edge where some grunge and some dirt on. 102. Using the Generator to Add Dirt: Now let's take a look at the engine block here. I'm going to skip down and go to engine block. And let's isolate this. And I hit the F key and zoom in. And I think I just want some edge where on this, Let's see what we can do with that. We've got a very basic material here. We can play with it a bit with the scale, the brushing intensity, et cetera. But there isn't much else to play with in here. So let's go ahead and drag the rest over here. And I will create a black mask here. And then with that mask selected, I'll create a generator. And then for the generator, let's add metal edge, where? There we go. So now let's flip it. Click Invert here. And let's see what we can do with this. Now, I'd like to bring that edge wear down some and the contrast, but I'd like to take the grunge amount up. We can do with this. That's not bad, but I'd like it to have a little bit more influence around here. So let's try a dirt generator. I will click here, add a generator again. And this time let's use the dirt and see what we can get. We got a little bit more happening out in here. Maybe I'll invert that. Okay, there we go. Now I'm going to drag this down. And we've got quite a lot happening back in here where the ambient inclusion is happening with the other pieces. Let's see what we can do with this. So I'm going to have to change my blending mode and let's try multiply. There we go. That allows us to see the edge where there. Alright, so let's go back to the edge where bring that up a little bit, bring the contrast down. And maybe I'll take this rust and bring down or change the color just a bit. It isn't quite so bright. Maybe something like that. Let's see how that works. I'm going to bring everything else back. And that may be a little bit too much in here. So maybe I can bring the dirt down a bit here. That there we go. That's not bad. Maybe let's try that. And while I'm here, let's go ahead and do the engine pieces as well. Right here. Let me isolate these. So I kinda wanna do a similar thing that we just did for all of these. Let's try this. Let's bring this over here. Then let's add a black mask here. Add a generator. Let's do edge where invert it. And let's see what we can do with this. So it looks like we've got a scene there. Let's try, try planar here, see if that helps. A little. Let's go up to iron rough. We already have that here. And our edge where we can turn on triplanar here. That might help a little bit. We can try that. And then how about that dirt? Let's try that. Once again, I'll select this at a generator. Let's do the dirt. Let's turn on multiply. And then let's see what we can do here where 0 n, Let's invert it here. There we go. And let's bring this down. And we could also bring it down here like that. Alright, let's try that. See what happens. I'll bring everything back. So we've got this. That's not bad, but it's also come over here and take a look at what we have over here. So these pieces are a little bit too much, I think, right? Yeah, That's the edge where down here. So I'll bring that back just a little bit. There we go. Yeah, that's not bad. What about the vents here and the knuckleheads? Let's take a look at those. Over here. We've just got one material on these. Is that enough? Well, we can come down here and play with the roughness variation. And I've already got some of that in there. You can see that their surface imperfections, dirt, scratches. I've already got some of that in there. And you know, what we're also going to need is we're going to need something in here that's kinda black, so it just seems like there's a hole in there. So let's take this steel rust right here and drag it right here. And let's add a black mask. And then under the UV chunk, Let's just select this right here. Now I'm not seeing that that did anything mainly because we've got this chrome gray above us, but let's take this and drag it down beneath it. There we go. Now we've just got kind of a black area in there and that's probably all we need. Just to give a sense that there's a hole there. There's an inside in there. Then for all this, do we need any other kind of rust or anything in here? I don't know that we do. We can try it though. We can bring the rest over here. Let's add a black mask at a generator middleware. So we've got some of this rust height coming through on our little hole there. Let's take this mask right here, copy it, and then paste it right down here. There we go. So now we should have, yeah, we don't have the rust height on this part down here. And that's fine. Okay, So now let's go to the edge where again, let's invert it. And we can see the rest of there. And we don't need it quite that much there. Dewey. Maybe something like that. Let's take the height down, come up here, go to height. And let's pull this down a bit. It's just a little bit like that. Yeah, that's nice. I like that. Just got a little bit around the edges there. Alright, let's bring everything back. There you go. That's our process for adding some edge where some dirt, some grunge. You can use your black mask, your generators to add and combine any of those that you want. It's really just a matter of playing around and seeing what you can get. The tools of the black mask. And the generators are really powerful for adding materials one on top of the other. 103. Texturing the Fenders and Taillight: Well now I've chosen the fenders here and I'm going to isolate them. And I've also changed the names of each of these layers to blue and tan, just so I can figure out what they are as we add more things to this. So what I want to do is add something to this that will give it a Chrome rim and a red reflector kind of material there. So first of all, let's deal with the Chrome. I think we can do that pretty effectively. We just drag the Chrome over here and let's add a black mask. Then in our polygon fill tool here, let's select the UV chunk fill and just select the rim right here. And because that's its own UV map, that's where the material goes. So that looks pretty good. We could take the roughness down like this and we could maybe make it a little bit lighter like this. Yeah, something like that. Now for the reflector here, what I've done is I've gone out to the 3D asset marketplace here you can click right here. And it'll bring up this window. I selected materials and typed in headlight. And I was able to find a few headlines that I like, like this one here with the ridges going up and down. I can click here and send to the application I have open. And I did that this rear reflector wave. If we come over here, I can type in wave, and here we go. I've got a rear reflector wave right here. So let's work on this. Let's take this and drag it over here. I will add a black mask, and I will select it by UV right here. There we go. Now, let's see what we can do to get it the way we want it. Let's change the color to a red. Something like that maybe. And then let's increase the tiling and see what happens if we increase the tiling. There isn't much that's happening there. So let's come down here to this MDL and under here, this cat if vote, I'm not sure how to pronounce that word, but we can increase that in the normal map and begin to get some of those ridges there. And then now we can take the tiling up more and now we get what looks a little bit more like a rear tail light. Let's adjust the rotation. Turn that like this. Yeah. Let's see if maybe that looks kind of like a rear tail light. Yeah, that's not bad. I think maybe I'll increase the roughness of debt like this and then maybe the roughness of variation. Let's try that. Yeah, that's not bad. Alright. So then we probably want to add a little bit of edge wear and dirt, et cetera, to the rest of the fenders. So for these, I think we're going to need to put them in groups. We're going to need to create folders and put them each in there. So let's take this and let's create a new folder. And I'll call this one blue. And let's drag this into here. We go. Then let's add a generator to this black mask here. Add generator, and let's add the edge. We're here. Let's invert it here. And there we go. Now the problem is as we've got it all the way down into here and we don't want that. So to fix that, we should really add a black mask up here. Let's do that. Let's add a black mask, choose our poly fill, and let's just go through and select these various pieces in here. So now let's take this edge where, and let's put something in here. Let's type in Rust, grab this, drag it and drop it in that folder. There we go. Now we can play around with this. I think I'll turn the height off here. Okay, I think that helps. And then let's go to our edge where drag the level down, some, drag the contrast down. Maybe the grunge amount up. So you can see we can kinda just play around with that. Now that still may be too much for me, let me bring that down. So then let's do the same thing for the tan here I'll create a new folder for the tan color. Then let's drag this in there. We can then copy this mask here, paste it onto that Control Alt V. Let's add a generator and the edge where let's invert it. And now let's drag this over here and drop the rest in there. There we go. Once again, maybe I will reduce the height for this or take it away completely. We can do that. There we go. Just by clicking that. And let's go to the edge where drag it down a bit. And maybe something like that. I think I'm going to come back up here to the edge we're here and increase that edge smoothness here. Yeah, I like that. And then bring the grunge amount down just a hair. So something like that. We've just got a little bit of imperfections over that. That's all I really wanted. Let's take a look at how it is with everything back. Yeah, so we've just got little imperfections in here. We can of course adjust them however we want. But for now, I think I'll go ahead and leave it like that. 104. Painting the Trim on the Fenders: Now, even though this program is called Substance Painter, I actually do a surprising little amount of painting in the program because it's just so easy to drag and drop things. But sometimes it's kinda fun to come in and do a little painting. And what I'd like to try and do is this little trim on the fenders. I just want to show you how I'd approach that. I think the painting tools are pretty amazing in this program and it's actually kinda fun. So I'm looking forward to this. So I'm going to try and get that trim on the vendor's. It looks like my try planar manipulator has come back. So I'm just going to click here to turn that off. Then let's go to the vendors here. And I'll also isolate it by clicking here. To paint on our 3D objects. You can do it, but it can be a little tricky and I prefer to actually paint on the 2D image. So I'm gonna come up here and change to 3D and 2D and here are our uv maps that we want to paint on. So let me see if I can pull this over just a bit here. There we go. And then we don't have the icons here, but we can always pull the menu down here to get them to paint on, say this piece right here, I believe that's this UV Island. And for this bag here, that's this UV island. So you kinda have to figure out which UV island you're going to paint on. And I'm pretty sure that's these. And then what I like to do is get in the orthographic view to try and figure out where my symmetry lines should be. So I'm going to press Alt and left-click and come up here to the top view and then press the Shift key and that'll kinda snap me to the top view. And then I'm gonna come over here and change to orthographic view here. So I can kinda see it without perspective. And then I need to create a paint layer for us to actually paint in. And I'm going to create the paint layer within this blue folder. So maybe with this selected right here, I'll come up and create a new layer of paint layer right here. And when I do that, I get to paint tools up here. I've got the paintbrush here selected. And let's go over to the brushes here in this panel right here. And then I just want a basic hard brush here. I'm just going to click here and that loads the brush over here. Now I need to deal with the color. So I want to maybe open up the tan groups so I can see this little swatch right here. And then I'm going to scroll down to the color here it is, the base color. I'll click on the Eye dropper and then click right in here on that color. So we want that to be the same color that's on the tan parts of the fender. Alright, so we've got that. Now, the brush sizes here, but you can also hit the bracket keys on your keyboard to bring that up and down. So let's go back up here to the paint layer. And if I click and drag, let me zoom in a bit. You can see we've got some edge wear here. And if I click and drag and paint on this, it just paints right over the edge where if we tumble around here, you can see that here. So what I wanna do is actually add this mask to that layer as well. And this mask recall has that edge where generator on it, right? So let me press Control Z to get out of that, I want to select the mask here. I'll right-click and copy and then come up here and right-click and paste into mask or Control Alt V. There we go. Now, if we come over here, select our paint layer so we get that color and click and drag. You can see that edge where it comes through the color and that's kinda nice, That's what I want there. So let me hit the bracket key and reduce the size just a bit. I'll zoom out. I can see the whole UV island here. And then I want to turn on symmetry. So over here we can come and turn on symmetry and that draws a line down the center. What should be the center? But it looks like mine maybe a little bit off. My model may be slightly off center, so there's a little Settings thing right here. And we can take this and we can drag in the x and we can move that symmetry around. Now, there's 0.01. That doesn't look quite right still maybe let me type in 0.015. So now that I have that I can click and drag and it will happen on both sides. Okay, so that's good. I believe for the time being, I'm going to just click and drag this and move it over here. So it isn't in my way. Now what Let's do is just begin up here. I'm going to come up here and I'm going to click up here outside of the UV island, click once and then I'm going to hold the Shift key, and that brings this little line into play so I can bring this down, so I get a nice straight line once I click down. Here, there we go. Now let's take a look at it here. How did we do? Yeah, that's actually not bad. That works pretty well. I think. And then what I wanna do is come down here and draw the curve around the front. So to do that, I want to turn on the lazy mouse. So I'll click here. And currently that's a big sphere or a big circle of influence. So I'm gonna take this down. Let's try, Let's try 0.5 and see how that is. That's not quite big enough. How about one? Let's try that. So I'm going to click in here and drag. And now you can see that little sphere of influence and it won't begin painting until you move to the edge and you keep your eye on the edge of the influence, not in the center. So that's not bad. I don't like this little bit here. I'm going to press Control Z. Maybe I'll bring this up a little bit more. Let's try this. There we go. There we go. That's not bad. And then I want to draw that center line. Let me reduce the size of the brush with the bracket keys and then maybe I'll reduce the distance. Let me take it down to one. And let's go right in the center here. Let me see if I can find the center by moving that right about here. I think. There we go. And I'm just going to click. Here we go. I'm going to drag down like this and use that lazy mouse feature to try and get that nice smooth curve. Alright, let me turn that off. Increase the brush size just a bit. And let's fill this in right here. Now, we can come over to the erase tool and use the bracket keys to reduce this. I want that hard brush for the erase tool again, so I'll do that. And then maybe we could just clean this up just a little bit and maybe let's try that. Okay, That's not too bad. And then there's one last thing I want to do. There is a little bit this little brown line along the edge. I think that's kinda nice. So I'm gonna try that. I don't know if I'll be able to get that, but let's give it a try. So what I'll do is I'll just change the color in here. I'll just come in here, make it a little bit darker. Maybe a little bit brighter like this. Maybe something like this. Let's try this. Let's see how it looks on here. Yeah, maybe a little bit darker. Let's then come back up here to the top again. I will reduce the size of the brush pretty small. Let's just try 0.5 up here. And then I want to begin once again up here. Click hold the Shift key down and bring it all the way down. So it's right on the edge there of that paint. Let's try this. Too thick. I feel like that's a little too thick. Let's try it once again. But with, Let's try 0.3 here. Alright, one more time. I'm going to hit the Tab key. So we have a little bit bigger canvas here. And let's try it again. Hold the Shift key down. And let's bring this right down to about right here. Let's see how this works. How do we do? Yeah, that's not bad actually, I think it goes right along there. Alright, and now we just need to paint in here. So let's turn on the lazy mouse, and let's give this a try. Maybe I will bring this down to 0.7. I'll begin here, bring it down. And then once it begins drawing at the edge of that circle, I'll keep an eye on the edge of the circle, not the center of it. It isn't perfect. We can always come back and paint in the other color. Let me hit the Tab key. And we could come in here, change this color back right in here, and then turn off our lazy mouse. We can come in here and paint this over just a bit if we wanted to. Just to clean that up. Alright, I'm gonna go back to the 3D view here. And let's bring everything back. Turn off symmetry. And I'll also go back to perspective view here. And there we go. So it's not perfect. I didn't do a great job there. I would probably take a little more time with that. But that is how you can create some of this trim on the fenders. 105. Painting Normal Information: Now another fun way to paint in Substance Painter is to actually paint normal information. We can paint some of this bump information here like on the Chrome and maybe the screws around the chain guard here. So to do that, Let's first choose the chain guard. Was that here? Let's see. Yeah, so that was this chain accessories here. And then let's create another paint layer right up here. And for this paint layer, Let's turn off everything except the normal channels. So let's just turn all of this off and see if we can just use the normal for this. Once again, I'll press the Shift key while I'm tumbling here. And we can also go up to the orthographic view here. Alright, so now we're in that side view. We could come over here to our textures. And I'll just type in normal. This is all the normal information that we could paint. It also has our normal maps in here, but we don't want those. So maybe we can begin with a circle bump. Let's try this. I'm going to take this, drag it, drop it right over here. Now because we're gonna be going back into Blender. I want to ensure that I'm seeing this using OpenGL. You can come up here and pull this down and choose color spaces. And once you do that, you've got this color spaces drop-down here. And if you notice the auto is direct 3D. So I'm just going to change this to OpenGL just so we can view it a little bit more closely to the way it would be in Blender. If you watch this here, you can see it change just a bit how it calculates the normals, right? So now I can maybe increase the size of my brush here. Now you can see that my flow is at 94 opacity 93. I'm going to drag that back up to 100 and maybe put this, I'm just going to click right here. Let's see what happens. Now. As we move the lights around, it's going to look more as if it's pushed in or pushed out. I'm gonna go back to perspective. Theoretically when we take it into Blender, it's going to look a little bit more like it's pushed out than it is here. We will have to see. But let's go back to the side view here. And then what if we added like a screw right here, like a flat head screw? Let's see what we can do with that. We come over here, I'll type in screw. And we've got quite a few here. How about this right here, the screw slot. Let's click and drag that into the normal slot. And now you can see that here. I'll change it to OpenGL. And let's give this a try. So now that's not really the one I wanted to wear, just a plain one. Oh, here we go. Let's do this one. Opengl. There we go. Let's try this. So I'll hit the bracket key and let's maybe put one. I'll make it a little bit bigger. Maybe let's just type in one here. Like that. There we go. And I'll put one here. Yeah. It looks like it's going in instead of out. And now, doesn't it? If we switch over to direct 3D, does that change it? Let me click here. Yeah, it does. That's interesting. So theoretically, the OpenGL will be better in Blender and will actually look like it's being pushed out. But for now, just for us viewing it, let's view it as direct 3D because it seems to work a little bit better. Yeah. Look at that. Alright, and then I'll scroll up and maybe change the angle here like this, and then click here. It isn't quite the same as that one. Alright, that looks pretty good. And I also think there are a few screws around here. Now for this, I think I also want to paint the color because if we just click here, it'll be the same color as the chain guard here. So I want to add color to my paint stroke. So to do that, let's scroll back down. Turn on the color and the metal, maybe the rough. So we can actually create a metal material in here. So let's bring this over to here like this. And I'm going to keep an eye on here to see how we're doing. Let's bring the metallic all the way up here. Bring the roughness down a bit. Maybe I'll bring this up a hair like this. So you can see we're just kinda creating a metallic color there. So then when we come over here, let's try this. I'm going to maybe increase it just a little bit. Well, maybe not that much. Let me try one point to do that. And then let's click here and see what happens. Yeah, that looks pretty cool. And we can come through and adjust our angle. For each one. I'll put one down here. So I'm going to do one on each axis like this. Maybe here, and then maybe over here like this. And then let's put them over here. I'm just kinda going around here. Here. You might want to be a little more precise about this, but I just wanted to show you what you could do, right? And that looks pretty cool. I mean, that really looks good. And then for this piece right here, these details here, we could try this. I don't know how well that's going to come through. But we could try it. We could once again take away everything but the normal. So take away the color, the rough and the metal. So we can take one of these, this circle bump and drag it back into the normal here. Actually, let me add a new paint layer. Let's do this on a new paint layer just to be safe. So we still have our information here. Let's maybe go to the orthographic view on the side here. And what I'll do is just click and drag and you'll see it's kind of digging in there, but I really think that's going to come out in Blender. Let's try the OpenGL and see how that looks. That looks a little bit better. Let's try that. And let me change the brush. I will come over here, choose brushes. And let's use a soft brush for this. Reduce the size quite a bit. Maybe something like maybe I'll just type into here for now. I'm going to reduce the flow and the opacity just a bit. Let's test this 0 and the spacing is a little bit too much. Let's press Control Z and I'm going to drag that down to one. Let's take a look at that. Yeah, that's not bad. So what we could do now is we could just click up here once near the top, like this. Fold the shift key down again, move down here to the side like this. Then once again down here, over here, and over here like this. See how that looks now that's a little bit too much. I think let me go back to the perspective. We could maybe drag this down a bit, see if we can reduce that sum. So it isn't quite so much. Maybe down to about 18 or so. And then we can also maybe just to create the insides here. I don't want to draw on this. So what I'll do is once again create a black mask. Select this, go to our poly fill and click the chain guard here, and there we go. So now we're only going to paint on that. Now we can come back here and inside here we can click once, shift to come out here. Click here. Well, I don't like what we're getting there and let me do that again. Click in the middle, maybe right to here, and maybe to about right here. So we've got something kind of like what we've got over here. So if I bring this back over here, you can see we've got this kind of diamond shape here. So that's all I'm trying to get at. And once again, I think I will just drag this down just a little bit more like this. So it's really not so prominent like that. Yeah, Let's see how that works. I'll bring everything else back. And hopefully that just kinda blends into everything. Yeah. Alright, so that's how to paint normal information. In the next video, let's work on putting the Harley Davidson logo on the gas tank. 106. Adding a Decal to the Gas Tank: Now I'd like to add this Harley Davidson logo to the gas tank. And I've gone out to the Internet and found some images for this, and I took one and I created a PNG. I removed the background in Photoshop and left it blank as an alpha channel. And so I just want to bring this into Substance Painter so we can use it on the bike. I'm going to click over here and come back to my textures. And then what I'll do is take the logo here and drag it in and drop it. And now it's going to ask me, what is this, What is this thing you're bringing into the program? And it's going to be a texture. And I want to use it in this project. So I'm going to click project there and then click Import. What I wanna do is bring it in and put it right on the gas tank. And the easiest way to do that now is just to Alt click and drag it. But first of all, I'm going to choose the gas tank here. So any new layers are created in this texture set. I want to change this. I still have my view to normal, so I'm gonna change it to base color there. Now I'm just going to press Alt and click and drag and move this right into here and drop it here. And then tell it that I want this to be part of the base color of the texture set. So I'll click here, and there it is. So now it's a little bit off, right? I'm going to click over here and turn this on. And this feature right here is called surface tool. And this allows you to actually click and drag it on that surface. Now it's gonna go up onto the other parts of the gas tank texture set, right? But we know how to fix that. We can come up here and add a black mask, choose the gas tank. And there we go. Now it's only going to be on that mesh. Alright, so let's click back over here. And here we go. Now we can take this and move it around and it only will appear on the gas tank. Now we've got different tools here for move, rotate, and scale. And you can press the W, E, and R keys to bring up those manipulators. So the W key is the move tool, E is rotate and R is scales. So let's first, I'm going to go to my side view here. Let's hit the E key and rotate this like this. Let's hit the R key and click in the center here and scale it down a bit. Let's take a look at that image here. So it looks like it's just at the top of that. So let me move this down over here so I can see it. And then I'll go back to tool and move it down a bit. I'll hit E and turn it a bit. I'm just trying to figure out where it should be, how big it should be, et cetera. Maybe about like this, Let's say, alright, let's turn off the manipulator here and take a look at it. Yeah, that doesn't look too bad. We could bring this down just a bit so it isn't quite so bright. And there we go. There we've got our logo on the gas tank now, I feel like I want to bring it up just a little bit more here. And I do want to point out that this is a square texture. That when I created this, the image of course was more rectangular. And so when I created this image, the texture image in Photoshop, I made sure to make the canvas square. So I think it was 1,300 pixels long. So I ensured that it would be 1,300 pixels tall as well. Because if you bring in a texture that isn't square into Substance Painter, it's going to make it square, is going to stretch it so it becomes square and it will be deformed and look right. So you do need to ensure that your textures or square before you bring them in to do this. 107. Texturing the Speedometer and Headlight: Two other things I'd like to do is work on the headlight and the speedometer. Now, Substance Painter doesn't really have great resources for these two things, but we're gonna go ahead and go with them. I think they'll work. Okay, Let's come over here to the 3D content marketplace. And I will type in headlight here. First of all, let's see what we can find here. I'm not a fan of that. Yeah. We don't really have a whole lot of good materials for headlights here. I'm thinking maybe this one with the little triangles in it. This one may be our best bet. Yeah, maybe this one is midnight Chrome plastic. That might work. Let's give that a try. So I will click here to send to Substance Painter. And it comes in right here. There we go. So let's go to the headlight here. Let's click and drag this over to here. There it is. Now let's do a similar thing that we did with the reflector. Let's first of all change its color. And to do that, Let's use that preset here. We had a midnight Chrome plastic or silver plastic. I don't remember which one. Now that one's a little bit too dark. Let's try the silver plastic. Alright, that one maybe a little bit better. Let's then come down here and increase this. Here we go. That's not bad. And it looks like we're going to need to isolate it to just that lens. So let's do that. Create a black mask. And with the Nashville, Let's just choose this. There we go. Alright, now let's use a rotation up here to kinda turn it like this. Which way do we want it to go? I wonder, maybe like this. And then you're like there's more we should do it. It just doesn't feel quite right to me. How about let's increase the roughness sum and then increase the roughness variation quite a bit. So we get some differentiation in there. And maybe we could actually increase the tiling or do they have a scale down here? I think let's increase the tiling up here. Maybe not that much. How about 1.25? Let's try that. And then down here, we can increase the plastic grain, the the scratch density. And yeah, that's okay. I'm not crazy about it. But I think for now we're just going to have to go with it here. Maybe I'll bring the color up a bit. Alright, yeah, let's go with that. And then the speedometer here, we could go over to the gas tank texture set. And let's work on bringing something in here. I think I saw a speedometer material in here. Yeah. So what have we got here? We've got a mechanic chamfer during mechanical half ring, digital, digital, mechanical digital. So this one seems to be a little bit closer to what we actually want. Let me look at the information in here. Well, maybe this preset white might be good for us. Let's try that. Alright, so I will send it to Substance Painter. No, I already had one in here. Okay. So now let's take this and let's use our trick to hold the Alt key down and click and drag it right in here. Let's do that. Let's drop it right there. I've got it up on top and I think that's okay, but let's isolate it to just that UV chunk at a black mask. Select UV chunk and just click this. And are we can see it there. Then let's change that preset to white dial. There we go. We can see it a little bit better. Let's go to our scale tool and click and drag this down. There we go. Alright, so we can see it a little bit better there. I'll go to the surface tool and move it into the center here and the rotate tool and turn it a bit, maybe something like that. Let's go to the scale tool with the R key and click and drag this out until we get it with about where we want it to be. Maybe move this down a bit. That was that. Let's tumble around and let's take a look at it. Yes. So that's not too bad. I mean, I'm not crazy about it as I said, but I think that'll be okay. We also have a couple of settings here like speed. We could drag this up and it takes the speedometer up, but I think we just wanted it zero. There we go. We could also change it from kilometers to miles per hour if we wanted it, we could change the speed interval maybe to 20. Let's try that. So you only go up to 160. You've got the graduation precision. You can increase that if you want. So it goes up to 200. So you've got quite a bit of tools here. If you want to play around with it. Maybe it goes up to 200 like that. Like maybe the whites a little bit too much. Maybe it should be a little bit yellowed over time. I don't know. Let's try that. Maybe over here like this, something like that. So once again, we just use the same process that we used for the logo on the side, just using Alt and click and dragging that in to set that up for our speedometer. 108. Exporting the Texture Maps from Substance Painter: Alright, I think we're to the point where we're pretty much done and we can begin exporting our textures. Now one thing I did do is add a trim piece right around the Harley logo here on on both sides. And all I did was just used the curve tool in Photoshop to draw this out. And then I exported it as a square PNG image and then Alt clicked and dragged it into here, and then scaled and moved and set it up on both sides. So with that done, let's work on exporting our textures. You can do that by going up here to File Export textures. And we get this panel here. And I've got it. So it comes up with the blender principled VSD F output template. Let's take a look at that here in the template tab. If we click on it here, we can see it's got these textures that it will export out for every texture set. In other words, this set of textures will be exploited for each one of these over here, for each texture set. But I don't think we need all of these. I think we do need the base color, the normal map, the metallic, the roughness, but I don't think we need an emission map, an Alpha map, a displacement. I don t think we need these three down here. So what Let's do is let's duplicate this and then remove these. So we have just what we want. So let's select this and then I'll come up here and click here. And it will create a copy of that right down here. And then I'll right-click Rename. And we'll call this blender. What should we call it? Blender basics. Just because we're just going to use the basic form maps. So here with this selected, let's just remove the emission map, the Alpha and the displacement. And now we just have these four and I think that's what we want. Oh, and notice here this normal map you can see it's a normal OpenGL. And that's why I was trying to view those normals that we were painting in OpenGL because I knew they were gonna be exported out as OpenGL at some point. With this setup, Let's go back over here to the settings. Let's change this from Blender principled be SDF to Blender basics. There we go. The file type, we want to ensure that it's a PNG. And for the size, I think what I'm gonna do is go ahead and choose 2048. I think there were one or two that I changed the map size to 1024, but I think 2048 will be just fine. Then we want to put it in an output directory that we know where they're going to be. So what I've done is within the main folder, I've created a Textures folder. And in here I've created a texture maps folder. So all of these are gonna be exported out to that folder, right? So I'll just click Select Folder. And there we go. We've got all of our texture sets selected over here. So they're all going to happen at once. So let's just click export and see what happens. There we go. So you can see Substance Painter going through each of the texture maps. You can see for the brake pedal, we've got these four texture maps. For the break. We've got this set of textures for the electrical box, we've got this set of textures. And here we go. So now they've all been exported out. We can click here to open the output directory. And it opened up over here. So I'll bring it over so we can see it. And here are all of our texture maps. So you can see once again, we've got the electrical box with the base color, the metallic, the normal, and the roughness. And for each of the texture sets we have for textures. So let's now go over to Blender and see if we can begin putting these textures on our model. Right here in Blender, Let's go over to the shading tab right here. And in this view, let's begin adding our textures onto our materials. Currently we just have the material colors still. But what we can do is just select an object, say our tires. And then what we can do is use blenders Node Wrangler to bring our textures in really quickly and easily. To enable the Node Wrangler, you just come up here to the Edit menu and preferences, then go to Add-ons. And in here we'll just type in node. And all you have to do is just put a checkmark here next to Node Wrangler, and that will enable the add-on. Now, once we do that here in the shading tab, if we hit the End key, you can see the Node Wrangler tab here. Now we can use this to create a principled setup. So we need to ensure that we click on the actual principled BSD f node here and not this one. If we click here and then click Add principled setup. Now we can go into our Textures folder, into the texture map, and that was our tires materials. So I'm just going to type tire into the search field. And here we go. I'm going to select this one, Shift-click this and click here. Principled textures setup. There we go. Now it's taken all of those texture maps and connected them up to the principal BSD f with the proper mapping nodes and everything. So there we go. Now we've got our tires. Let's do that one more time. How about if we bring in the gas tank? Let's select the gas tank. Here it is. Here. I will click on the principled node to select it. Come over here, click Add principled setup. Or you can see here that the shortcut is Control Shift T. So let's just do that. I'm going to click that control shift T. I'm going to type gas up here in the search box, and there we go, I'll select this Shift-click, this ad principled set up. And there we go. Now we've got textures for the gas tank setup. So it really doesn't take very long to just add the texture maps with our Node Wrangler here. So let's do one more. Let's do the fender. Let's just select the principled node control shift T, type in Fender. And let's select these. And there we go. So that's what we're gonna be doing in the next video. I'll do more of these, but really that's all it is. Select an object, select the node Control Shift T, and bring in the textures. 109. Assigning the Texture Maps in Blender: Alright, let's keep bringing in our textures. Let's try something else. How about this here, the chain accessories. So I will select this control shift T, bind the chain accessories here they are. Click here, and there we go. That brought those in. Now, I'm not a big fan of this blurred background here, so I'm just going to come up to this menu, the viewport shading and the world opacity here, I'm just going to click and drag down to zero. And that just takes that away. We're still getting all the lighting and the reflections in here, just not the blurred background. Alright, How about the wheels? Let's try this control shift T. I'll type in wheels down here. And let's select these. Here. We go. What else? How about this right in here? Let's select these in here. And what does that the wheel pieces. Alright, control shift T type. We'll, here's, we'll pieces right here. Let's do that. Click here, and there we go. How about the chassis? Let's click on here. Select the principle of BSD, f, control shift T, and should be right here we go. Chassis. Bring that in. Yeah, that looks pretty good. How about these things, the engine cylinders, Let's do that. Control shift T. I'll type in SY L. There we go. Engines, cylinders. We go. How about the engine block? Let's do that. Select the node control shift T, engine block right here. Bring those in. How about the foot rests? Control shift T. Scroll down and here they are. Okay. We could do the seat. Your those forearm. Let's bring that in. Here about the engine guard. Lets do that. Select the node control shift T, engine guard. So you can see it's pretty easy just to bring these in and get them set up in here in the note editor. So like, let's try the gear shift here. Control shift T, and gear shift. Right here we go. Alright, so I'm going to continue with this. And in the next video, we will have all these setup. And we will then take a look at setting up the background, adding some lights, and beginning to do some renders of the motorcycle. 110. Adding an HDR Image in Blender: Alright, well I've finished bringing in all of the texture sets and apply them to all the materials on the bike and it looks pretty good. Let's go back to the layout tab here. And what we can do is just switch over to the material preview here. There we go. Now, one thing I did do is I added a kickstand. You can see it here. I went ahead and took it into Substance. Painter added some material to it, just like we did for everything else. And I also added a little black plate to the bottom of the seat. I saw in one of the images that it had one of those kind of things. It's not perfect, but I just wanted to get something on there. But other than that, everything's still the same. And from here I'd like to begin setting it up to render images and to animate the camera and render that out. But first of all, I think I'd like to set up the kickstand so it will lean over a bit. I just want to take this real quick, just move the cursor to the origin of this because I can then tab into edit mode and select this and then just spin it in the z-axis. I do need to move my pivot point to the 3D cursor here, right there. So what I'm gonna do real quick is just take this and let's spin it 90 degrees. I'm going to press R and bring that around like this. There we go. And then I'll go to the front view. And I want to take the entire thing and tilt it at the center axis here. So I'm going to move the cursor to the center of the grid with shift S1. Once again, I'll ensure that the pivot point is at 3D cursor. And then I just want to tilt the whole thing. So the kickstand is on the ground, so I'm gonna hit are here in the front orthographic view and just tilt this down until it's just right. Yeah, right about there. Let's see how that works. Yeah. Something like that. That's just I wanted it just so it's leaning over so I don't know, looks a little more realistic. I think if there's a kickstand, I could also flip this one down as well, but I kinda wanted this. I'm going to try this. Alright, so now that we've got that, I'm going to save my scene here. And I also want to set up what render engine I'm going to be using. Currently, if we come over here to the render properties, we can see that we're using the EV renderer and that's a good one, That's a real-time renderer. It's really fast. The shadows aren't great. So I think I want to switch to the Cycles Render Engine. I'm gonna do that for me. It's a little more realistic. Now, once I do that, we have a choice to render using the CPU of the computer or the GPU. And currently I've got a pretty good GPU in this computer, so I'm going to switch to that. And if you haven't yet, you may want to go to the Preferences here and edit preferences. And under system, you may want to check out the Cycles render devices up here. So it should be able to automatically detect what you have in here in terms of GPUs. So I've got an NVIDIA G-force 30, 80. And I'm going to use optics here as opposed to cuda. You can use either one. You may want to do a bit of googling to see which is better for your particular card. And you may have a completely other card that has completely different options up here, and that's fine. But for me, I've just done a few tests and I think that using the optics goes just a little bit quicker. Now I'm also throwing in my CPU and here, so we can use that too. But I just wanted to show you that here in the preferences window under System is where you can adjust these things. Alright, so I'm going to close that. So now that we've done that, let's just click over to the render preview and see what cycles is gonna do for us. So I click here and we don't get a whole lot here. It's just kind of a dole bland gray. And that's because if we come over here to the world properties, we've got a dull gray color in the background here. You can see if I just take this and drag it all the way down to black. That's what we get. So we need to put something else in here. And what we're gonna do is use an HDRI. And I'll provide a couple of these because I've downloaded a couple of these from the blender studio, and these are open source and you can use these two. But to add an HDRI to this, we're going to come in here and click here on the color. And then let's go to environment texture. And when we do that, everything turns this awful pink. And that awful pink just means that blender is telling us something is missing. It's just saying something isn't quite right. So we're gonna come over here and click Open. And I'm going to browse to my HDRI folder on my drive here, and I'll provide this in the project files. I'm going to click over to here and you can see the different images here. And as I said, this is from the blender studio. These are all open source, so you can use these. I'm going to use this clouds layer and click Open Image. And here it is. So now what it's done is it's just added this into the background of our scene. And what this enables us to have here is reflections, which with all of the metal and reflective materials on here, we need something to provide reflections in all of these shiny materials. So this is good. This is what we want, but I don't want all this in the background. And to get rid of that, I'm going to come back over here to the render properties and scroll down and under film, Let's just click Transparent. And there we go. Now we've gotten rid of that visible image in the background. But once again, we still have the lighting and the reflections here, which is kinda nice. And as I tumble around here, you can see up here the samples. It's having to go through the number of samples here in the Viewport each time we change the view, right? And it's going pretty quick. But what I'm gonna do is in this render properties, we can see the viewport samples here, that 1024. And if I tumble around here, you can see that 1024 here. I don't want it to work so hard. So I can change this and move it down to, let's take it down to like 128. Right? So now if I tumble around, it only has to go up to 128 before it's done. So that enables me to move around a little bit quicker here in the viewport. And also over here in the render samples. When we actually hit F12 or come up here and choose render image or render animation. These are the settings It's going to be using. The great thing about this little feature right here, denoise. If we turn that on, we can bring this down quite a bit and speed up our renders a good deal. So I'm going to take this from 40 96, and I'm just going to bring it down to say 256. For now, just twice what we have in the viewport. That's pretty low, but as I said with this de-noise feature, it works pretty well. The last thing I want to set up is I want to scroll down here and under performance, I want to turn on persistent data. And what this will do is remember what our first render did. In other words, all the information that it needed in terms of textures and lighting, it will cache that information in memory. So the next time we render, it won't take so long. So if we click here, subsequent renders won't take as long because it will have cache that information. Alright, so in the next video, let's actually work on creating a camera, setting up our shot, and rendering an image. 111. Adjusting the Lighting and Rendering an Image: Now let's see if we can render out an image. First of all, let's create a camera. I'm gonna come up here to Scene Collection. Highlight that. Press Shift a camera. There we go. There's our cameras. Now it came in and hopefully to that scene collection. There it is. And I'm just going to pull this back. I've got local transformation selected, so it should just pull back in the angle that it was created. There. There it is. Oh, I've still got my pivot point at the 3D cursor, I'm going to press the period key, change that to median point. And when I do now, I can hit the S key and kind of scale that down just a bit. Scaling a camera does not affect how it works or the image that you get through it. It just changes the size and the scene. That's all. So if we want to look through the camera, we can press the zero key on the number pad and we go and there is what we see. Now, if I try and move this, if I try and like tumble around, I come out of the camera. If I want to use the camera to actually frame my shot, actually look through the camera. I need to do one more thing. So I'm gonna hit the zero key and I'm going to zoom in just a bit here. And then what I'm gonna do is hit the End key. Come over here to view. There's a little setting right here under lock called camera to view. So you can lock the camera to the view as you move around. And you just have to remember to uncheck this when you're done with it. So I'm going to turn this on and then I'll hit the End key. And you can see there's just a little red dotted line around that frame. So that just tells us that as we tumble around and move, we're going to be moving the camera as well. So that's what I want right now. So I'm going to set this up. Maybe, maybe something like this. I'll try an image like that. So then I'll hit the End key and turn this camera to view off, right? And now if we tumble around, the cameras stays there, but we can move around. So now what I wanna do is adjust the resolution of my render. So let's come over here to the output properties. And for this, I want to, well, here we go. It's already set up for the resolution. I want 1920 by 1080, which is a two k image, a standard HD resolution. So I think that's pretty good, but you can also come up here to this menu right here and change the presets. So we're currently at this HDTV AT, but you can change it to a 4k image here, 38, 40 by 21, 60, or anything else that you'd like in here. But I'm just going to keep it at 1080. There we go. In addition, while I'm here, I do know that I want to render out any animations that I do at 30 frames a second because I'm recording the videos that you're seeing now at 30 frames a second. So I want to be able to match those if I edit them together. So this just depends on the particular project that you're creating or working on. Alright, let's give this a try. So with all this setup, I'm going to press Control S and save the scene. I'm also going to come out of the rendered preview mode here. Sometimes when I'm in a rendered preview and I try and render an image or an animation, blender freezes up. I don t know. It may just be this particular version of Blender. I haven't had that problem in the past. But just for me personally, I usually need to come out of the rendered preview to actually do a render. But having said that, let's now just press F2. You can see under the render menu that to render an image is F2 and to render an animation is Control F2. So let's just hit F2. And here it goes. So now it is churning out a render and now it has done, it says did that in 7 s. So that's pretty good. So that is a render. Now, if we did this again, Let's try it again. I'm gonna close this window here. And let's try the render again and see if it goes any quicker. I'll hit F2. And this time it did it in under 6 s. So that's kinda my point with that persistent data. It caches as much information as it can upfront so that any subsequent renders go a little bit quicker. Alright, so let's close this. Now it looks pretty good. So that's our process for doing renders. Let's try another one. I'm gonna hit the zero key, hit the End key. Turn on camera two. View. Here we go. Now, maybe let's, let's come over to this side here and render something out over here. Now, you're probably wondering, aren't you ever going to add anything in the background or a floor or in anything? Yes, I will. But I just wanted to do one more thing here with the camera with the cameras selected, I'm gonna come over here to the camera properties. And I want to change the focal length. Usually for a shot like this, we would use a wider angle lens. So what I'm gonna do is instead of a 50 millimeter, I'm going to type in 25. And now you can see we've got a wider angle lens here, which I think is going to help us. So let me go back to the rendered preview. And I want to do a render from this side, but the light, let me hit the End key and turn this off. Here. There we go. The light from the HDR image is over here, right? We've got some nice lighting over here. But over here it seems a little bit too dark. So how do we change the lighting of the HDRI? Well, to do that, let's go over to the shading tab here. And in here, this is where we set up our textures with our materials for the objects in the scene right here. But we can also change this to deal with the world. Now here is the world. Here's that clouds layer that we brought in that HDR image. We want to be able to take this and turn it. And to do that, we just need to use our Node Wrangler again and create a texture setup. Now we don't want a principled setup because we don't have a principled node in here, but we do want to take this texture here and click on Add Texture setup or Control T. So I'll click this. And here we go. Now we've added a texture coordinate and a mapping node. So now what I can do is come over here to the rendered preview. Let me just do that so you can see what happens when we use this Z rotation. If I click and drag, watch what happens. It's really similar to using Shift and right-click in substance painter. You can turn that HDR image around so you can adjust the lighting. So maybe I want the lighting to come over to about right here, let's say, okay, so now let's go over to the layout tab. And here's our lighting. And that looks pretty good. But what if I want to tweak it just a little bit more? I can come back over here to the world settings. And if I scroll down here under vector, we twirl that down. Here are those fields in that node, in that mapping node. So I can click and drag in here and turn that light around until it's the way I want it. And in fact, I may actually want to increase the strength. What if we took this up to two? Now that may be a little bit too much, but it's not bad. Let me bring it around. Maybe something about like this and maybe let's take this to 1.5. Let's do that. I'm going to type zero and then maybe type 180. I'll just type 180 here that we go. Yeah. I've just brought it over to about 02:15. And that looks pretty good. Alright, so let's try that now. I'm going to hit the End key and turn camera to view on. I just want to make it a little bit of an adjustment here. And then let's just hit F2. There we go. Once again, our render is just under 6 s, and that looks pretty good. So in the next video we'll do is let's create a background for this. I just want to create a very uniform color, kind of a background, but I also want something that is going to accept shadows so we can kind of see it sitting on the ground. In the next video, we will work on that. 112. Setting up to Render an Animation: Now let's create a floor and a background for the render. I think first of all, I'll turn off the camera view here so we can tumble around without moving the camera. And I think what I'm gonna do is just create a circle, shift a mesh circle, and I'll fill it with a triangle fan. There we go. And I'll tab into edit mode, select this edge. And I'm just gonna begin extruding and scaling this out and bringing it up. So it's basically a big bowl that the motorcycle is n. So I'm going to hit E S and scale out. And that'll hit E S and scale out again. And I'll just keep doing this for awhile. I'm going to bring this out and then I'm gonna begin bringing it up like this. And bring it up. And I will just keep going and doing this for awhile. Alright, so there's our big bowl. Let's see how this looks through the camera. I'm going to hit the zero key. And there we go. So you can see it just gives us a nice floor that we can see some shadows on, and then a nice even background. Now, I think the whites a little too much, if you like that, that's fine. But I think what I'm gonna do is select the background here and let me change the name to I'm going to call it background. And I'll go to the Materials panel, create a new material on call this background so we know what it is. And maybe I'll just take the color and let's just try dragging it all the way down. Yeah, That's kinda nice. Now we can see the polygons on this. So let's right-click and choose Shade Smooth, and that helps that. And yeah, so now this just gives us a nice kind of finger-like even background to do a render on. And since we've left top open, we're still getting some of those reflections from the HDR image. Well, Let's give this another render and see how it looks. I'll press F2. And it's going to take, let's see, about 10 s here. So that's not too bad. Now we can try it again. I'll hit F2 again and just see if it goes in a quicker the second time since we put in the background. Yeah, so now it's just under 9 s. Okay. That's not too bad. Now, if we like this image, if you want to save this image out, you can just come up here to Image, Save As and put it wherever you like. Now I've created a renders folder here in the project files, and I'll put this in images and we can take this and give it a new name. I'll just call it render a one. And I currently have it as a PNG. You can change that if you like, but I think a PNG is pretty good. And I'll just save that out. So there you go. That's how you render and save out your images from Blender. Now, what if I wanted to create an animation? Say move the camera along the side of this. Maybe we could come over here and move it along the side here. Well, we could first of all come over to the world. Properties, come down here and our z rotation, we can take this back to zero and move it over to this side. We go, we could maybe move the camera to say this point. To move the camera to your current view, you can press Control alt and a zero key on the numpad, and that will move the camera to that view. Now I'll hit the End key and lock the camera to the view so I can put it just where I want it. So let's say we want to move camera right along here. Say right there. Let's say we begin maybe right around here and just move it in the y-axis. So it kinda slides along the bike. Alright, so what I'm gonna do is turn off that camera to view here. So I can tumble around now. I will tumble around. Here is where the camera is. Right? Now. I just want to move it in the global axis. I'll change to global and I just want to move it along that y-axis. But first what I wanna do is create a few windows so I can view both the 3D view and the rendered view at the same time. So let's come up here into the corner until our cursor is at a cross and I'm going to click and I'm going to drag this way. There we go. And then I'm going to come up here, do that again and click and drag down like this. So this view down here, I'm going to change to a graph editor right here. And this view over here, I'm going to change to my camera view with the zero key. I'll press the Enter key. Go to View and ensure that camera view is off. Yes, it is off. Okay. And then I can change my views. I'm going to scroll the mouse wheel to move that bar up there, change to my rendered view. And then I can turn off all of the little overlays. So I'll turn this off here and turn off these here. Then I can press the T key to close this panel here. So we have a clean view of our camera here. What we're seeing through the camera while we can still move around in here pretty easily. Alright, I'm going to press Control S and save that. Now I need to set up the animation. I want to tell it where I'm going to save the images. Because what we're gonna be doing is we are going to be creating 30 individual images for every second of the render. So I want to output it to a particular folder where all of those files are going to be. Currently it's going to our temp folder on the C drive, and I don't want that. I'm going to click here. And I've created, as I said, that rendered folder. And in my rendered frames folder here, I'll create a new folder, call it an M. Rendered. 01, will do that, and I'll click that. Then let's click Accept. Here we go. So now we've got that path here. That's where all of our rendered frames are gonna go. And they're going to be PNG files here. So that's good. Alright, we've got all of that setup. So in the next video, let's actually go through the process of keyframing and animating the camera and rendering out our animation. 113. Rendering an Animation in Blender: To animate the camera moving along the bike, we're going to need to insert keyframes. And so with our camera here, I'm going to insert the first keyframe by just hovering over this and pressing the I key for Insert Keyframe Menu. And I'm going to insert a keyframe for both the location and the rotation of the camera. So I'm going to click here. And now we've created a keyframe here in our graph editor and a keyframe down here in our timeline. So that's the beginning, that's where we want to begin. I'm going to click and drag all the way over here to frame 250 now. And then I want to move the camera. I'm just going to click on the y-axis and drag it. And let's say we want it to end up like right back here. Let's say with the cursor at frame 250, let's insert another keyframe. I'll hit the I key and click location and rotation. And there we go. Now we've got keyframes at one and at 02:50, let's go back to frame one here. And then let's click Play and see what happens. There we go. You can see the camera moving here and it's moving along the motorcycle as well. But I kinda feel like there's a problem here. Actually let me switch back to the material preview and see if it moves a little quicker here I'll go back to the first frame here. Let's click play. Yeah, it moves a little quicker through here. So to me, that's moving just to quickly. And it's also kind of easing in and speeding up, going quicker through the middle of the animation. And then it's beginning to slow down and come to a stop at the end. And I don't want that change in speed during the animation. I'm planning on taking this and editing it with other shots like this. So I don't want it to speed up and slow down. And you can see in here, I'm going to press Control and middle mouse button and move this kinda like this. So we can see the curve here. You can see what it's doing here on the y-axis, it's beginning kinda slow and then speeding up. The more vertical the line, the faster the movement. And then you can see it's beginning to slow down and coming to a stop here. So I don't want the head. So what I'm gonna do is just come down here to the keyframe and right-click and change my interpolation mode. And I'm going to change it from Bezier to linear. There we go. Now, it's just a straight line at constant speed throughout the whole frame range. So if I click Play now, it will just go at a constant speed the entire way through. But I still feel like it's a little too fast. I want it to move kinda slowly and more lyrically or something like that. So to have it move slower, we just need to add more frames to the length of the animation. So what I can do is come down here in the end field. I'll type in, say 500. Let's do that. Now if we scroll the mouse wheel out, you can see the entire range here. I'll just click on this keyframe. So only this one is selected. Hit the G key and move it all the way down to frame 500 right here. Now, we need to zoom out here in this animation or in the graph editor so we can see the whole range there. Now let's try it again. I'll click Play and let's see how quick it goes. There we go. That's moving a little slower. I like that. And it's really just half the speed because we doubled the range. So now let's go ahead and render this out. I'm going to go over to solid view here before I render, I'm going to press Control S and save my scene. Now we need to do is come up here and go to Render and render animation or Control F2. So let's try that. Control F2. And there it goes. So as this is going, I'm going to reduce the size of this window here. And so we can see at rendering there as it's going. And then I'm going to bring in another window. I'll bring in that rendered frames and M render folder. Here it is here. And you can see each frame going into this folder after 11 s or so, It's going to pop into this folder. So you can keep an eye on what's happening with the render. And you can open up any one of these. Say I want to take a look at Frame tool. I can open this up and bring it over here and we can take a look at it. Is that okay? Yeah. Okay. So that's looking pretty good. So you can keep an eye on this and see if there are any problems on frames as they're being rendered. And let's just say that I happened to see on frame 12 that there's a problem that it didn't render properly for some reason. What you can do is you can go ahead and stop the render. You can come over here and click here and stop the render. And now we have only 15 frames, but I saw that there was a problem on frame 12. So what I can do is I can come through here, delete all these, and then come back over here to the frame range. So I know that frames one through 11 are fine. So I'll come into the frame start type in 12, and now we can begin at frame 12 and continue the render from there. So once again, I'm going to save my scene, press Control F2. And here we go again. So now we're going to begin at frame 12. And keep on going. Bring this over here. Here's our new frame 12. And off we go. And this is why we render individual frames. Because if we rendered, say, an MP4 video file, if there was a problem in the middle, we can't just go and begin again in the middle, we'd have to begin again from the beginning. And granted, our frames aren't taking a whole lot of time here. But if we were rendering something where we were dealing with render times of say, five-minutes a frame to have to re-render the whole thing could take a very long time. So it's a good idea. Render initially as frames in this way, and then convert the image sequence to a video file after that. Alright, so what I'm gonna do is let this go, render this out, and then I'm going to move the camera around, move the HDR image around, and do some more animations, renders some more animations out. And then in the next video, we will open up blenders. Video sequence editor will bring in the videos to the video sequence editor, will edit them. And then we'll render out a final edited video. 114. Editing Video Clips in Blender: Alright, I've gone through and done a couple of renders. What I've done is selected the camera and then come down here to the timeline, hit the a key and hit Delete to delete the keyframes. And then I've gone through and reposition the camera for a new shot set in and out points for that camera animation, and then rendered it out in individual folders. So you can see here, I've created new folders for each animation. And within each of these, I've got the image sequences for that. So now what I want to do is convert these image sequences two video files, because the video sequencer in Blender can't always keep up or play image sequences in real time so that we can get a sense of how the video is actually going to look. For me, at least I like to convert them to video files rather than image sequences to do the editing itself. So let's take a look at how we would do that. To get to the video sequence editor, you can come up here to the Plus tab right here, add a workspace and just come down to video editing. And then video editing here. And here is the video sequencer. We're going to need to change some settings in here in the output properties. So I'm going to expand that a bit. But in here, what we can do is bring in our image sequence as video clips. So hovering here on the timeline, I'm going to press Shift a and choose Image Sequence. And then I'm going to browse to my renders folder, rendered frames. And I've got this anime renders 08. So these are all of the individual images I've rendered out for this shot. To bring them in as a video clip, I'm just going to press the a key to select all of them and then click Add Image Strip. And here we are. Now it looks like it goes a little bit farther than my timeline right here. So I'm going to extend this to say 300. There we go. So it extends out to there. Or I could click and drag and move this cursor right to the end of it right there, and see what frame that is. But I'm not seeing what frame it is because it's showing 8 s and 11 frames. So I want to know exactly what the frame number is of that. So we can come over here to View and turn off show seconds. There we go. Now we know that we're at frame to 51. So I'm going to type that in down here, 251, or up here, you can do that here as well. So let's go back to the beginning right here. And let's click Play and see how it plays. Well, it's running slow, right? It's running around 15, 20 frames per second, which I really want 30. So yeah, that's not going to work in terms of editing. So let's go back to the first frame and let's render this out as an MP4 video file. To do that, we need to come over here and change our file format from PNG to FFmpeg there. And then we need to tell it what kind of encoding we want. I like to change this to mpeg four, just so I know what it's going to be. This is what I record all of the videos for the course. And so I just wanted to all be the same. We don't need any audio here, so I'm not going to change any of that, but I also wanted to go in a new folder. So I'm going to click here and I'm gonna go back up. And I've been creating videos and putting them in this videos folder. So you can see I've got two through seven here already. So I'm going to click Accept. There we go. And then in this output path field, What I'm gonna do is add just another bit of information here. I'm gonna move this over so we can see it. What I'm gonna do is add the name of the video and the file extension. Because if you've noticed with this file extensions turned on, we get the numbered frames like 001002, etc, as well as the PNG. So what I'm going to do is turn this off and then I'm going to type in anime render 08 dot mp4. So that is going to be the name of the file when it's created without blender trying to add any file extensions. Alright, so now that we have that, I'm going to go ahead and save my scene. And now we can go ahead and press Control F2 to render this out. So Control F2. And here it goes. And you can see it's moving at a much quicker pace, about 0.3 or 0.05 or whatever frames per seconds. So it's almost real time. It isn't too bad at all. Alright, so now we're all done. I'll click that to close it. Then I can click here and delete this because I don't need this image sequence anymore. I'm gonna delete that. I'll move these back over here. And now I can begin bringing in those videos. I'm going to press Shift a. And instead of an image sequence, I'm going to bring in a movie. And we'll go to that Videos folder in the renders here, right here. And here's that annum renders 08 that I just rendered out. And we can take these and we can begin bringing them in. I'll select them all and just hit add movie strip. Here we go. Now we have them all in here, one right after another. Now, I think I want to create just a 30-second video. So I'm going to change my end frame from 25012. What would that be? 30 times 30 is at 900. Let's try that. And we can also check that by coming back over here to View Show seconds. And sure enough, if we go right down here, we can see that's 30 s. Alright, so that's what I want my video to be. So let's see what we have here. We've got this shot here. And this shot. And this, I kinda made me want to begin with this. So I'm gonna take this and just move it over, click and drag it to frame one. Then what, what do I want now? Well, it's this side. Do I want to flip back over to the other side now? So this is just however you wanna do it. You can just go through and figure out which ones you want. I don t think I want this one because I never did add a little labels to that. I should do that. But at least for now, let's just hit delete and remove that one. So there's this, this, and this, this. Okay, so we begin on this side with the knuckleheads. So maybe then we go to a close-up of this side right here, like that. And then so that's that. So maybe now we go to the other side like this. Let's try that. And so we've got the knuckleheads side, the engine cylinder side, back to the knucklehead side, engine cylinder. Engine cylinder. So I don't have an even number here, but that's okay. I can go back to yeah, maybe I'll do this. I'll take this one and put it right here. Let's begin trimming these. Now, what we can do to trim these is actually select one side. You can see how if you select one side and has a bold stripe there on the side, and that means you can trim that. So I'll hit G and move that back a bit. Let's say I begin right about here, G and move this forward here. Then if I want to move the entire clip, I can click in the center. So we do not have a bold stripe on either side and then hit G and move that like that. Let's see, Let's just play this and see what happens. I'm going to hit play. And maybe it ends right there. Okay, So that's pretty good. I'll hit G, move that into here. And then we want to start like this. I don't want to begin right here. I want to begin down in here. I think I'm going to hit G. So you can see what I'm doing. I'm just going through moving these around, trimming them, getting them in order. In the next video with Let's do is work on adding transitions, adding fades, fade in, fade out. And then we'll render this out to a final MP4 video file. 115. Rendering the Edited Video: Alright, I've gone through and edited my videos here. Let's just go back to the beginning and see how it looks. I'm going to press Shift and left arrow key to go back to the beginning. And then I'll hit the spacebar to play it. And so here we go. We've got shot number one and we go to the cylinder side, and then the knuckleheads side. Then we just do a couple of dollies and zooms here. Then we just end on this one. Then I want to fade out. So how do we go about adding fades between each one of these and a fade in and fade out. Well, the fade in and fade out is pretty easy. You just come over here and right-click and choose, fade and fade in. And there we go. So now if we go back to the beginning with the Shift and left arrow, hit Spacebar. Now it kind of fades in there, but the problem is, is the fade-in goes from transparency. So we really need a black video underneath here. So what Let's do is let's add a new black video. We can come over here to the Add menu, choose a color strip here. And so now that fade in as black underneath it. Alright, now let's do that for the one at the end here, Let's right-click fade and choose fade out. And then I can take this clip right here, press Shift D, and move it all the way over here to the end. So we get black underneath this as well. Actually, it looks like I didn't have it completely. Let me bring this and I'll bring this one to 900 as well. Let's try that. There we go. I'll hit the home key and zoom back out. And then let's work on the transitions here. Now for these, we need to move some of them to a different layer so we can extend and overlap them. So what I'm gonna do is take this one and hit G, and I'm going to press Y. So I can only go up and not to the sides. And click here. And then I'll select this hit G, move this, this way. And let's see how much we can move this way. Oh, we've got plenty. You can see if you go beyond the edge of the video, you get this kind of a darker blue and that tells you that that's just gonna be a still frame. We've gone beyond the bounds of the actual video itself. And now it's just gonna be a still frame. So I don't want that. I'm going to bring it back. And maybe I'll press Control Z to come back to here. And let's maybe do this. So I've got this one at 81, maybe I'll bring this back to 80 and this one to 96, I'll bring it back to 95. So that is a 15 frame overlap, right? So that's half a second. I'll take these to come up here to add, choose transition and cross. And there we go. Now that crossfade, if we hit play, that will crossfade between those two shots. So let's do that again over here. I will take this one, I'll hit G and move this and see how far we can go. We can go plenty. So maybe I'll go to 240. And this one, That's it, 225. So that's a 15 frame transition. Let's select this one and this one. And we can also right-click, choose, Add Transition and cross here. And there we go. Now we've got this one up. Let's see what happened here. It's going the wrong direction. Let me hit Delete and I'm going to select these in a different order, the top than the bottom. And now add across. And let's see how that works. So as you can see, the order of selection does make a difference. Alright, so let's take this one and I'm going to hit G, Y and move it up. And let's see what we have here. We've got 361. So maybe I'll move this back to 360. And this one could go to 345. Let's try that. So now let's choose this and then this ad transition and Krause. Here we go. How about this one here? We've got 506. Let's maybe take back to 505 and let's see if we have enough. We've got plenty. So let's take this back to five for 90 right here. So now we select this and this, add a transition cross and let's see how that worked. Yeah, that's not bad. And then let's take this one, hit G to move it up. And let's see what we have here. So for this, maybe I could take this up to 650 and this one down to 635. Let's try that. No, I don't have enough here, right? You can see that I'm pulling it beyond the bounds of the video. So let's come back up here to 645. And let's see if I can move this up to 665. Let's try this, right? So I've got 645. Oh, I only need to go to 660, So let's do that. There we go. So I'll select this and this, and right-click Cross. And there we go. Now let's take a look at that. There we go. Alright, so I'm gonna hit the Home key. Here is our edited video. It is a 30-second video. Alright, so now let's do is let's render this whole thing out. I'm going to save my scene with Control S. And then I'm going to ensure that I'm going to the right folder. So I'm going to click here and go into my videos. And I'll remove this here. And I'll click except now it's going into that Videos folder under rendered frames. Now what do I want to call it? Maybe I'll call it final edited Video, dot mp4. There we go. I accidentally clicked there. I'll go back to the output properties there. And so I've got this path and it's going to create a video called final edited video dot mp4. And I can put that there because I've turned off my file extensions. Alright, let's give it a shot. I'm going to save the scene again and then press Control F2. And there it goes. Alright, it's all done. I'll click here. And let's bring that video folder back. Here is our final edited videos. Let's take a look at it. And there it goes. We've got our transitions. Yeah. That's looking pretty good. There we go. Our finished motorcycle. Pretty sweet. 116. Conclusion: Well, thank you for joining me on this journey to create a 1930s six Harley Davidson knucklehead. I really loved these kind of projects that really get into the nitty-gritty details of complex objects. And I really enjoy working with Substance Painter. I think Substance Painter is a great complement to Blender. It really gives you the opportunity to create some amazing realistic textures quickly and efficiently. And I hope this has been useful for you. I hope you can find techniques and tools that we've used in this course to create your own amazing projects going forward. There is, of course, always more to learn. Blender is a huge and deep Program. I hope you can also take away a sense that blender can be fun to learn, can be fun to play around with and see what you can do. And I am looking forward to seeing more of what you can do. I hope you post your finished projects and your future work. I really want to see what you're doing, what you're working on, and where you're going with blender, with 3D animation and all of your future creative pursuits. So thanks again for joining me. I really appreciate it. Keep learning, keep moving forward. And I hope to see you soon. Take care.