Blender 3D para iniciantes: crie cenas cinematográficas

1. Course Introduction: Hi, my name is Darn and welcome to my blender tutorial. This three day course, we'll be doing our own realistic take a, one of my favorite scenes from Spirited way. This tutorial is intended for beginners that have already watched a video or two and are now looking to take their blender skills to the next level. Everything in this course is completely built from scratch, and all the tools plug ins textures that we'll be using are free as well. I split this course into three sections, modeling, texturing, and animation. We'll start off by installing free plug ins. And as well, I'll show you a few quick shortcuts that have come to adapt in my workflow in order to speed things up. Once everything is set up and ready, we'll begin modeling. In this step by step process, you'll be able to follow along and learn about modeling techniques, modifiers, how to clean up your mesh, and even some simple geometry notes setups. In the texturing phase, we'll combine a variety of techniques in order to bring our scene to life. You'll get to use everything from PBR textures, making your own procedural textures, to texture painting as well. I contain each lesson to be 10-20 minutes long on average, with a few exceptions, of course. Additionally, since this is a very long tutorial, if at some point you wish to jump from modeling into texturing or to animation, I've also added individual blender files to help you switch chapters just like that. So with all that out of the way, let's begin. 2. Getting Started: Before we begin with the tutorial itself, I want to take a few minutes to talk about some of the tools, plug ins, and other stuff that you might see across this video as we go along so that you're not caught off guard essentially by something. Talk about plug ins. All of the plug ins that you'll see are basically completely free. And I think 80% of them you can actually just get by going here under Edit Preferences and simply typing them in here. Let's just quickly install or enable all of the plug ins that you'll see me use across this video as well. Whenever I do come across using a certain plug in, I am going to mention it and briefly stop there for a second to remind you. There's also that this is just to help us get started initially. All right, the first plug in that actually comes to my mind right away is if you type in here, I believe copy. You'll see this one here that I have enabled Copy Attributes menu. So essentially what this plug in does is you don't need to, you need to do what I'm doing right now. You can just watch. So I just want to clarify, all of these plug ins is let's say you have this modify. Let's say you have this cube over here. I have just now enabled two levels of subdivision on this cube, as you can see in here, by pressing control two. And then if I go here, let's say I'm going to add a ray modifier that's going to go this direction. I'm going to add like a couple of these guys like that, right? If I wanted to now have this object have the same modifiers as the one on my left side, I would either have to manually go here and add them and then match up these things here. Or by using the copy attributes one, I can actually click on the cube that I want the modifiers to be transferred to. And then I can click on the object by holding shift to one that has the modifiers on. And I now press control C. And I can just go copy modifiers immediately. It's going to copy the modifiers as well. I mean, if you press control C, see there's a bunch of other things that we can copy as well. But I believe in the tutorial we're specifically mainly going to be using the copy modifiers one like that. That's the copy modifiers add on. Essentially, the one that is yellow is the one that needs to have the modifiers on. And then the one that is orange is the one that the modifiers are going to be transferred to. I click on the one that I want to transfer to, and then a whole shift click on the one I want to transfer from. That's about it. It is a bit confusing at first, maybe, but once you get a hand of it, you get used to it. The next on the list that we have is the Loop tools. This one here, what the loop tools do, let me just go actually to this key. While we have it here, let's say that I have this face here and now I have this face selected. I want to inst it. Let me add a couple of loop cuts right here. Let's now select this edge loop that, let's say I want to make this edge loop a little bit more circular. That's exactly what the loop tool does. If I go on my right click, I see that I have a new menu here available with all of these options. And if you have your mouse on each of them, it gives you a short description of what they do. The one I'm looking for here is called circle, and as you can see, it immediately changes it to a circle. Like I said, there's a couple of other ones, but specifically in this tutorial, we're mainly going to be using the circle one. All right, let me delete all of these things from my scene. Now let's add a default cube. The next one is the most popular one that I believe you've probably heard if you watched already a couple of Blenders tutorials and that is the Node Wrangler. If your first time hearing about the Node Wrangler, you're in for a treat, especially if you come from other tools. Me, myself, I initially learned Cinema four D and octane. And when I learned about this tool in Blender, it was like dark magic game changer. For me personally, if I go here under my shading tab over here and let's say usually you want to add a new material like this. Now if you wanted to add textures to this material, you would have to go into your textually file and then select which textures you want to transfer. Blee Blender doesn't even allow to transfer them all individually, so you'd have to go one by one in here like this. Then you need to find where your color is. The color goes into the base color over here. You need to go manually connect this one. Then you have the metallnus into the metallic goes into here, and then so on and so forth in order to get your textures going on. But with the node regular add on, I can just press Control Shift and then find a texture that I want to use. For instance, just something randomly, let's say like this. Okay? And immediately it connects everything. For me, like I said, it works like magic. And on top of that, this is not the only thing that the Node Wrangler is available to do. It does a bunch of other things that you'll see as we move along in the video. But this is the primary function that I don't just blew my mind when I first saw it, when I was watching my first blender tutorial. Next on the list, we have one called as planes. And this one, again, comes directly inside blender. All you need to do here is shift a, and it adds an image as plane here, but essentially allows you to create a mesh that attaches an image directly on top of it. On a plane. Then we have, I believe, step in two. There we go, mesh two. This one is very useful when, let's say you would need to add an additional face. So let's say I have something like this and I can press immediately, it fills this in. Additionally, let's say I have a verdict here that I select. And I press immediately, it does that. I think opposite. So if I press here, it's going to do exactly here. If I press here, let's see, it does that. It adds directly all these phases. It's also very useful. Then we have two more add ons that essentially we don't have by default. Here in Blender, we will need to actually download them through the Internet, but no worries. Both all of these Ams, like I said, are completely free if you just go, for instance, here to Google. And also I have attached the links in the resource folder that includes the textures and everything else. You'll find it there as well. You can just go to Google and type in camera shake five. It should be the first one here that pops up from eight to future. This one here, you go to code and download the zip. Once you have the zip downloaded, all you really need to do, again, go into your edit preferences and here under install, you find it and you install it. What does the camera shake? If I do well, as the name suggests, the camera shake. If I go into my camera allows me. Now if I go to the camera settings, you see here this extra window, if I click here, plus it has this investigation or a couple of other presets that you can use. Let's say hand Cameron, and it just adds this extra motion. Now this is obviously way too jarring, but it gives you also these settings to stabilize, decrease the speed. Then you get this like nice almost natural human motion. You can barely even notice it here, but it's very useful. This just helps to sell the realism that somebody is holding a hand, holding a camera when recording this footage. Last but not least is another add on called UV squares. Again, the UV squares add ons is the one that you're going to need to manually install this one. Here, let me just first show you what it does before we go about installing it. Essentially, when you have an object, and this is going to come in handy when you have objects that once we unwrap them, they come in weird shapes. This one is obviously going to come much nicer. Let me go into UV, as you can see here. But the UV, UV squares add on shows up here. And it allows us to manipulate these UV squares, organize them a bit better. Let me just show you how to install that one. Again, if you go to Google, type in UV squares blender, it should be this first one under Github. There should also allow you one for blender market, but this one is paid. You can get this one from Github just by going code, download, zip, and redoing the same thing that I showed you before under here, edit preferences install. That's about it. Those are all the plug ins that you'll need. As I said, once we come across using one of those plugins, I will always mention it so that you'll kind of know what's ahead. So this is just kind of even extra preparation. Before that, let's talk about shortcuts. Now when it comes to shortcuts themselves, blender is highly customizable. And as you can see here, when I press letter Q, which is quick favorite shortcut, it, it has a lot of these that are added. And these are all done by me personally. And you don't need to add all of them. I think we only need just three or four, so I'm going to go one by one. Explain which ones you'll need the most. I think we can also cover some of them, some of the other ones here as well. Later on, like I said, blender is highly customizable and you can change these shortcuts as you want. These are the ones that essentially I found work best for me because I use them the most instead of having to. For instance, let me just show you this one called here face orientation. That essentially just shows us whether our faces are pointing in the right direction. So if everything here is blue, that is good. But if you see here, if I go inside, faces are pointing here inside, which is correct. But sometimes you'll notice in this sitorial that we'll have sometimes faces looking like this. Then in that case, the only way to find that out, whether our faces are pointing outside or inside, is by going into the face orientation where that is located over here. Instead of having to every time go click here, checking out face orientation. I'm just going like this, changing the face orientation and I see all my face orientation is wrong. I can go and tab, select everything. Shift to Recalculate Normals, and now everything is good and turn it off. This just saves me a lot of time and hassle in having to do manually going back and forth here and there. And that's really what these shortcuts are very, very useful. As I mentioned, in order to add a face orientation, you just go here. Add to quick favorites and that's about it, All right. The other one that we have is called faces by side. So let me just show you what that one does. I'm going to do a cut here, that's going to give me this triangle or here. All right? So if you want to see, for instance in your mesh, how many quads you have, how many triangles you have, and et cetera, What you need to do is go under here and select, I believe select all by trait and then faces by sides. And then here you can say vertices equal to three, or let's see, equal to three. Then it's supposed to select all the vertices that are equal to three. Let's just go one more time. Equal to three. Let's see, greater than three. Now I'm going to select everything that's greater than three equal to four in order to see whether you have engons, tries, and quads. This is very handy. But again, having to go every time in edit mode. And then going into here, select Trait, Face it by site. It can be a bit of a bit of a hassle to me personally. Again, I had it in here. Then you go by Trait, right click Add to Quick favorites and that's about it. All right, another one that personally I use, and I think this is a professional hazard coming from cinema for D, is when I go into my camera view, I just don't like the idea of, you know, not being able to lock my camera. And the only way to do lock my camera is to go here under view and then I believe camera to view and then I can move it like this. So to me personally, this was very annoying. And so in order to kind of bypass having to click here, I added this camera to view as my quick favorite. And so this way every time I go into the camera, I just press lock camera to view. And I can move it like this and then I can get out of it. That this is just something I personally use. You don't necessarily need to, if you've learned it another way from a previous Torial, go ahead That way where it's probably fine as well. Then lastly, there is also one quick shortcut that isn't here that I don't use from here, but instead is done by pressing the Sem column key. And that is adding the wire frames as you can see here. For instance, sometimes you have a couple of subdivisions now, you just want to see how your viral frames are looking. Let's say you have the optimal display turned off. I just need to press the Sem column key, and I can see my wire frame set up instead. If you had to do it manually, you would have to go in here, press the wire frame and go like this. For this one I've pressed it, put it as a semicolon, so you just go right click here, and then add shortcut. And you press which one you want it to be, That's how it works. In my case, I believe these are all the shortcuts. And there's one more final thing that you will see me use in this video. And that is my Moodboard that you can see in here, which is done using a Pf software. Let me just showcase it to you. If we go to here, you can download Pureref directly from here. It is for free. So if you go to Google like this and just go in here, download it. I will also attach my pf file, the one that you see in here. So that when you watch Tutorial, you can simply put it here either like this on the side as I'll have it, or you can put it on your secondary monitor if you have one, to help you use these reference images to get the designs and creative look as you want. That's pretty much it. Once you have your Pf installed, you are good and ready to go without any further ado. Good luck in this tutorial and I'll see you guys in the next video. Bye. 3. Adding Reference Images: Okay, so here I have a new blender file open. What we want to start off is simply adding our reference images. First I'm going to click the letter A, and then I'm going to click X to delete everything that we have here. You can see all my keys. I'm pressing here, right down in the middle. If I click my tilda key, I get this pie menu with the views so I can go into my front view from here. What I want is simply to add a image reference. I'm going to go here to reference and where I have saved my image references for the train, for the front. There we go. And here we go. Now from here, what I want, I want to match this line of the train that's in here, in the middle to the line here of the three D. Cursor. To do that, I'm just going to click and then move this image along the x axis, somewhere around here. We actually already see that this line here with the waves is also here, matching with the three D cursor. That's perfectly fine. Let me just adjust it a little bit more. There we go. Something like this. If you want to copy the exact coordinate locations, here are the numbers. X is -0.58 234. You can put that over there to have the exact ones that I'm using right here right now. Now, the next thing we want to do is let's add back a cube. There we go. Now let's match this cube also to be here in alignment with the X axis. I'm going to press and then Z. Push it a little bit, somewhere like this. It again matches with the three D cursor. Something like this is fine. Now we want to scale this image reference to match the height of the cube. If I click on the image reference and I click letter, it starts scaling it. But it scales it from the center point here, from this origin point. And we don't want that, we want to scale it from the three D cursor point. The way we're going to do that simply is by clicking full step on the keyboard. Then clicking three de cursor right here. Now it's going to scale right from the three cursor point. There we go. Perfect. Now the next thing that you might notice is that, well, this train actually isn't a perfect cube shape. The height of the train is quite larger than the width of the train. To match this shape up, I guess it's a bit more of a cuboid or rectangular shape from this perspective. We can just simply add a little bit more height to our cube here. If I click Letter, I can go here into our z dimension, our height. And then click 2.3 That's just going to give me a little bit more extra height. When I put the E again up pressing on the E and then and then Z and matching it right about here with this, we can see that now if I go and scale this, we get a little bit of a better shape. The edges match, everything matches a little bit better. I think that's good enough for starters. Now one thing to keep in mind is because this is a drawing and it's not a physical shape, there's going to be some times where we're going to have to adjust, maybe even this image or readjust. There's going to be a lot of back and forth going in this project and that's just normal with these types of situation. I'm going to explain exactly a little bit better, why once we now add our side image. To add the side image, let's click tilta key again, going to our right view. Now from here, shift A again, let's go into our image here, references. And I'm just going to add this side image. We're going to repeat pretty much the same steps. Now let's move this somewhere around here, it matches. Xx is the beginning of the cube. There we go. Something like that. I think it's fine. Then from here we just need to scale it because we already have this three de cursor selected as the pivot point. If I click scale now, it's just going to scale from where we wanted to. We're going to scale all the way until it touches. We actually have some leeway right here. Let's just push it a little bit more up. Here we go. This edge matches right here. This matches right here. That is perfect. Now what we can do is just click Y and then move this a little bit more towards here, just so we can see how these lines match up. Here's what you can see. What I mean by drawing, just because this is a drawing. For instance, if we look at this angle right here. So if I go into my right view and you see this here goes pretty straightforward. There's no angle happening from this perspective. There's a little bit here, but there's not much on this side, there's not much in this side. But now if we look at our front view reference image, you can see that there's a much larger arc happening here. There's an arc happening here, there's one here. We're going to be needing to take some creative liberties when we're going to be designing the strain. Modeling the strain just because the image references are inconsistent with one another. The best thing that we can do in here is I would say try to match up this corner to this corner, and then this corner to this one. We can do that simply by pressing G, Y. Then let's just move this a little bit closer to our first corner that we want to check out, X. We can see that these two corners match up. And I think this is more than good enough for now. We don't need to worry about it too much. Let's just see if our middle also matches. So I'm just going to press Y now and move it a little bit to see where does the top corner. The top corner is a little bit lagging behind, but I think that we should be able to handle that a little bit later. For now, let's just keep it as it is. The only thing that we can do is let's click on this front image and then go here into the data properties. Let's just click front. Now if I go behind, if I have ready to go in the back view, this won't be there. I won't be seeing it. We can do the same thing here. Click here, and just put the front so that way you can only see the front view. Now what we can do also is press X. Push this here to the side, that's perfectly fine. Let's go here. Click our front view. Let's see if everything works here. I think we should be ready to start off modeling. Yeah, if you have your image set up like this, more or less, I think we should be perfectly fine to start off modeling. Like I said, this is going to be a back and forth process at times. We might even go back and realign the images just so that we can match up better with the modeling. They'll be all for this part and I'll see you guys in the next video by. 4. Modeling The Front Part of The Train: We're going to start off by modeling the front part of the train here. To begin that, let's first go by adding a cut right here in the middle. I'm going to go into my edit mode by clicking the tab, and then I'll make sure that I have vertex points selected this one here. I can click number one on your keyboard. And I'm going to select all of this on the left side while also being in x ray mode. Because if I'm not in x ray mode, that's all. And Z, if I go here and I select this, it's not going to select the back vertices. I want to have all of the vertices selected like this. Then I'm going to click X and delete the vertices. And now while we have this half, we're simply going to go at a mirror modifier. The mirror modifier is just going to allow us to not worry about anything that's going on on this side here. If I move something here, thing on the left moves. If I move something here, thing over there moves. And I'm just going to make sure that I have clipping here also selected. That way that these vertices are glued to each other. Because if I don't have clipping selected, they're going to get separated and we want to have them glued to each other. Perfect. Now from here what we're going to do is we're simply going to go into our right view, and let's start matching up this cube. I'm going to select all of these, and then click, let's start matching up this cube with this point here. We want to have this one match here. And then this one I'm going to press, and then Y, this one match here. What we want is to have this aligned with this rail right about here. We don't need to worry about this sides at the moment. Now I'm going to go into my front view. I'm going to this line here, this edge here. I'm going to do that by clicking the number two on my keyboard like this. Then I'm going to go and into my right view and press G and then Y. And then I'm just going to move it like this. I can move this one a little bit more up like this. This line goes right, follow this railway. This can stay here for now. Let's just look at how it looks like here. We don't need to worry about this one. This one is from the behind. This one is here at the top. We can see that this line here over here on the right view is right at this corner. But then if I go here, it has a little bit more room that's fine for now. Then this one here, let's see if it's at the corner, we can see that this side needs to be pushed a little bit more to the left. We're going to press again, I'm going to press letter X to move it alongside x axis. I'm going to push it somewhere around here that's touching this rail. Then I'm going to the letter R. We're going to rotate it just like this. I'm going to press again and then press X. Push it a little bit outside. Press, push it a little bit outside like this. Now, one thing that you might notice that's actually causing a small issue is that if we're rotating, we're rotating still from the pivot point. If you still have the selected, this is a mistake on my end. We need to actually click. We'll stop here and just select Active Element. Now we're rotating correctly. What we need to do now is to align these here because we made a mistake. So I'm just going to press and then z and then zero. I'm basically scaling this towards the z axis. And I'm zeroing them out so that way now everything here is again perfectly aligned. I can just take this one here and move it along this axis here. I can move it a little bit more down just so it matches somewhere here. But what we'll see now if I go into my right view, is that here, it's lower. This is the inconsistency simply that's happening just because these two reference images are exactly the same. Most of the train, we are going to be basing it off of this image here on the right side. So we can actually just keep this here for now. Then as a matter of fact, we don't even need this part at the moment. What we can do is simply press X, select vertices, press X and then delete them. We can just focus now on building this front part. Train to continue building the front part. What we're going to now do is add two edge loops. One is going to be here and then one is going to be here. I'm just going to start like this, add the first one. I'm just going to press twice now to move these vertice across this edge. I'm going to move this one a little bit forward to here if you want to, perfectly zero the amount we can press S and then zero, they're perfectly sharp and round. Then we can do here at one more edge loop by pressing control R, making sure that it's along this line here. And then pressing while selecting these two vertices, then Y, then just pushing it, selecting everything here, and then just pushing it again like this. Now if we look at here, we're starting to get that first part of the train here again. For instance, as I said, you can look even though this is aligned perfectly with this line here in the middle. We see that the medal isn't even here. Like I said, this is just one of those things we're going to have to live with because of the reference images being consistent and we're currently relying on them. Let's just continue working on this part here. This part is aligned perfectly. This part is aligned perfectly. For now. I think this is pretty good for the front part, perfect. Now, in the next video, we're going to be focusing now on moving this all the way to the side over here. 5. Modeling The Sides and Top: Let's start now to build this right side of the train, but right up until this door here. To start with that, all we can do is go into our edit mode. Click the number two, so we have Edge select like this. And then click Alt on our keyboard while clicking here on the edge. And this is going to just select this entire side over here. Let's go again into our right view. While we're in this right, we can click to extrude and then y to extrude alongside Y axis. We're just going to push this all the way up until here, where this vertice is next to this door. Now if I have these 1234 vertices selected and I click, and then Y, I'm just going to zero them out like this, it's all straight. And I'm just going to match it right here. And I'm going to push this one maybe a little bit more just to match it over there. Perfect. Now, the next thing we need is just to add a little bit more here on the top. We can do that simply by clicking this edge. Oops, there we go. We can click this edge here. I have this edge selected. There we go. Then in our right view, what I want to do is start extruding it towards this direction. I'm just going to click one more time. I'm going to extrude 1234 times. Should be enough. I believe I'm going to press Y N zero From here. We just want to connect these vertices. I'm going to start by adding edge loops. Now on this side, while having this part selected, like this edge, for instance, I can press control and letter R and then scroll my mouse 123 times like this, I get four edges. I click, and there we go, now we have four edges here. I can then move this one, maybe zero these ones out as well. I'm going to press on these two here, vertices Y and then zero. And then move by pressing twice. Right about here. Then if I do that, that just means I can go this. I might need to add one more cut here. I forgot. Let's just add one more here. For now. Like this, we might even need to take it out later. We'll see from here, I'm just going to select these four. Now I can just select these two, click once, twice three. Now here we have, we have a triangle here, and we want to have all quads. To fix this, what we're going to do is we're going to add another edge loop. And that one is going to go here. From here, I'm going to add an edge loop. I want this edge loop to match up with this line here. All right, perfect. Now everything should be quas and we can actually even do a check up just to see if while in edit mode, while I have these vertices here or edges or even faces, doesn't matter. If we go into select and select all by trait, we go faces by size. We can say here equal to, it says number four. We see that everything is selected. If I put equal to three, I think this one is only being selected like because of that. If I have s, let's do one more time, say equal to three. Or we can even put less than, less than four. Greater than four, Nothing is being selected. So that means everything is in quads, which is perfect. Now the next thing we want to do simply is add a subdivision surface. We can do that either by going here, clicking Subdivision Surface here, or you can just have all of this selected and then press Control And then one on your keyboard. And it's going to add one level of subdivision first surface. If I press number two, control two, it's going to add two levels of subdivision surface. For now, I'm just going to stick with one. Then I'm going to go right click and then shade auto, smooth. One thing that we haven't addressed yet is we fixed this part here. We're going to have to now adjust this again one more time because we just added the subdivision surface. But another thing we need to do is go into our front and go all to Z. We see that we have a little bit of space here that we need to adjust, and a little bit here. Let's first focus on that. I'm going to start by clicking here and selecting these vertices on top, and then pressing Z to move them a little bit more up. Then over here I'm going to select these vertices. I'm going to push them with the G and just manually move them right about here. I'll select these vertices. I think it is just one. These ones my put need to push these guys a little bit lower. I just want to get approximately the right shape around here. There we go. Now one more thing. We see that there's this hard edge going on on the side. And that is fine if we go into our pure reference. Let me just open my pureref reference here. There we go. We zoom in here. We can see there's a little bit of that arch happening right about here, where it goes outside and inside. We can actually use this edge here to mimic that by going here, selecting it, going a little bit outside, and then selecting this one, the line here from here. Let's press this here. And then press while holding control here. It selects the entire line, and then just go inside a little bit. Let's just match everything up, press this one, push it a little bit forward, There's a little bit of that going on. If I add a second edge, loop, second subdivision surface, we get that a little bit going on there and that's perfectly good. Let's just check everything else, how it looks okay, that looks acceptable. Let me just adjust a little bit more here. As you can see, I think this is going to be perfectly fine. There we go, We have this part done. All right. Now, in the next chapter, I'll be showing you exactly what it is that we're doing here. Because this isn't actually the model of the train that we're building right now. What we're building is what's called a smoothing mesh. In this next chapter, I'm simply going to explain to you what this smoothing mesh is and how it works. 6. Modeling the Smoothing Mesh - Front Part: All right, let's talk about the smoothing mesh. As I mentioned earlier, we aren't building the train itself at this moment. As a matter of fact, what we're building is you can think of it as a shell or almost as a container for the train if I go into my right view, so you don't need to do this, you can just follow along, you just listen along. If we look at the train, right, we see this whole area right here. This represents one part of the train. This is just a piece of the train. Then if we look at this box area right here where my mouse is going, this is another part of the train. This store is a part of the train. This here is a part of the train. This whole yellow thing that wraps itself and then goes all the way around. That's also part of the train. This train is made out a lot of different separate pieces. What we're building, the smoothing mesh, is what it's going to be holding all those pieces together, and we're simply going to stick those pieces on top of it. Let me just show you. Let's just as a matter of fact, do the front part right now. Let's do the front part right now so we can get a better idea of what we're doing. Then we'll just keep it as is and then focus on expanding the smooth mesh later on in the next chapters. So let's start building this front yellow part of the train along with this rails and this window. Okay, to begin, what we need to first do is match up the face so that this face matches as closely as possible to this yellow area. And we can do this in a couple of ways. We can first start by taking this vertice here, moving it a little bit more up, moving this one a little bit more up. And then adding one vertice right about here, one edge loop right about here. Then we can take these parts here and just press twice to move them a little bit more on this axis. So that we even out this here. If we look here, we need to push this a little bit lower. We need to even these guys out a little bit more like that. We're going to push this here a bit. Front, this here like this. We just want to keep the shape of the train as much as possible while still adding a few more edge loops. Here we go. Let's look at here in the front, I'm going to push these ones a little bit more up. There's this perfect oval shape for this edge loop. I want to keep this edge loop right here, because this one is going to be for my window. I'm going to push this one above here. And then I'm going to add one more, right about here. Okay, let's push these ones a little bit more here. Let's push these ones here. Push this one here. I'm just pressing twice and then moving them alongside the edge. These ones here, I'm going to need to rotate. So I'm going to press R a little bit. Just start slowly rotating and then pushing here. What we can do with these four, as a matter of fact, is instead of having to do here one, I'm just going to press twice. I'm just going to select these and press twice, and then move them down. Now I'm going to select these three again, press twice, and then move them down here. I'm going to put this one down here. This one here. This one might even need to go like that. Let's see what we have so far. Let's connect a little bit. We have this one, maybe a bit too much. As I look at right now, I'm going to go into the front view, all Z. Push a bit more here, push this one a little bit more up and take this one, push it back somewhere here. Now if I go like this and select this, have all of this selected, which isn't bad, but I want to push this one maybe a little bit more here actually. That this part now even better in terms of selections. Let's see how everything looks above. We might need to clean this up a little bit later. Let's just this here twice, It doesn't stick out that much. We overdid it a little bit, I would say. See how the rest of the train looks based on what we did here. All right, from here, this looks fine. Actually, I want to push this one behind this one a little bit more here. I might even push it a little bit more then I push this one. That we do have a little bit of this bump happening, which is what we want here. We have this, this line is nothing to worry about. This is perfectly fine because as I mentioned, now what we're going to do is we're going to go into our front view. We're going to click the tab O Z. Then we do need to add. Actually we don't. Let's add. Let's add for now. Let's see what happens. As a matter of fact, let's add one more edge. Look right here. Okay, let's select now all of these faces by clicking three, and it's going to the face select. And then click all of these faces. And holding shift, what I'm doing is simply, I went into three. So this face select, clicking all of these faces while holding shift, I'm just selecting them like this. Now what I want to do is duplicate these faces. I'm going to press Shift and D to duplicate. Now they're still part of the same mesh, so I want to separate them. So I'm going to click to Separate by Selection. Now we have this part. What we can do, actually we can hide this large part of this initial part. We can hide it for now. Let's just focus on what we have here for now. Okay, what we have here is this yellow part. If I move, for instance, this goes everywhere. Right? What I want to do, I want to wrap this part around this cube. And the way I'm going to do this is simply by adding another modifier to this part. Here I'm going to go into Add Modifier, and let's use shrink wrap. And then here under target, I'm just going to click Cube. And this is going to wrap everything around this, our cube. Now if I move this, you see it just follows the shape. And that's what I meant when I said that we're going to be using this here as our base on which we're going to be adding on top and it's going to be the glue that holds everything together. I'm just going to go back now in here, while I have this selected, I can go here into a Z. Press three for face select. Hit this face where we have the mirror. Click X, delete this face. Now go into this face here. Click control R to add a loop cut. And then push this loop cut all the way here. I'll go here, push this loop cut the way here. I'll go here, push this one all the way here, one all the way here. I'm going to add one more loop cut here, just to control the angle that I want this to go. I'll add one more loop cut here. And then I'll add one more loop cut here. There we go. Now we have this. Now I do want to clean up a little bit here. We can just have this one here and just start cleaning up a little bit. There we go. We can take these two, push them a little bit here. We can take this here, this vertice, and then push it a little bit more, depending on how much we want this angle to go. But then we can also take these two and push them more on this side, and then we can push it down this by pressing twice. I'm just constantly manipulating these vertices along these edges by pressing twice. That's all I'm doing. This a little bit more here. This one can go a little bit more down just so we can see what shape we're having. See, there we go. We can this one a little bit more like that. Now we can go back into here. What we can do here with these guys. We can, Let's go actually select these edges right here. There we go. While I have these edges selected, I'm going go into a right view. I'm just going to push and then Y and then just push them a little bit back. Not too much. I just made one more time. I'm going to press this one just a little bit. Just here just to smooth out this part so that when I go into my yellow part of the front part that we were just building, it's not as aggressive but it's still going to be present. That is fine. Let's go here, let's see how this looks like. It looks fine. I do want to manipulate this a little bit more. I do want to push this one a bit more up. Maybe these guys can push this one a little bit more to the side here. I have control over here. I can push this one a little bit more to the side here. I have more control. It doesn't have to go to stream, something like that. Let's see what we can do here. We can. What happens if we remove this one? Let's see, it's not that bad actually. We can actually maybe even keep it as is just need to push this something like this. Then this one a little more down. This is really a matter of personal preference at this point. Now what just matters is that we have disalgned somewhat to here to die edge. This is going to be normal because like I said, the images that were reference images that we're using are a little bit different in perspective. But even if we now move, press and move everything, you can see everything just sticks to our smoothing mesh, right? So I'm just going to pick escape, go back. I'm going to keep everything as is for now in the next chapter. Now what we can do is actually add also the rims of the windows and the windows themselves. And then we're going to add also some thickness to this so we can get a better idea. 7. Cleaning Up the Front Mesh & Adding Details: I look at this mesh right now, I do think we can clean up some of the parts a little bit more before starting to add these rims and the window. What I'm going to do is go here, select this vertice. Click letter K for my knife tool, and then go from here to here. I'm going to create a new cut. What this allows me actually, is to remove these two extra vertices. We are not going to need these two, because now if we go and dissolve this edge, and I dissolve this edge, this still remains straight. And I can just push this a little bit more down and it just works like that. I can push this a little bit more here to make it tighter. Push this one a little bit more here, and now this one is a bit tighter. And we're just going to repeat this process for this edge as well. Click here, here, and then take these two X the solve these two edges. I can now even go and adjust this depending on what I want. But I'm just going to keep it as is for now. For this part, we're going to keep it as is. This is fine. What we do want here is to do the same. So I'm just going to go knife this edge. Click Enter, remove this one, Remove this one. I think I removed the wrong ones. There we go. Remove this one. Remove this one. And make this one a little bit more tighter at the corner that there we go. Because if I added it here, what's going to happen is we are going to have that mesh that's going to stay. But then if we take this one out, this is later going to become a bit of a hindrance. Even if we move this like this, I do want to keep this as is, like a quad here on this side. And these ones can stay as they are right now. Now we have cleaned up the mesh a little bit, definitely looking a little bit better. We can even push this maybe a bit more here and then corner it. That's fine. I think that's perfectly okay. What we want to do now is start adding these rails, these red parts or whatever these are, I'm not sure what they're called, to be honest. I'm just calling them rails. But the way we're going to do this is we're going to click Alt and make sure that you're in your edge select mode number two. And then edge select mode. I'm going to click Alt and then click on this edge with my mouse, it selects the entire edge loop here. Then I'm going to duplicate this by clicking shift D one more time. There we go, I'm going to escape. So now I have it duplicated, but it's still the same part of the mesh. So I want to separate it from the mesh. I'm going to click to Separate by Selection. There we go. Now we have this part here. I can click in here in this dot. And that's going to transfer this edit mode from the previous part to this new part that we just created. If I click letter a, it's going to select all of it. What I want to do now, I want to make sure that I have individual origins here. I'm going to click to Extrude, and then I'm going to extrude inside. If I click Tab and all Z, we see that we have created our rails. There we go. Now from here, what we can do next, let's just add shade smooth. We can do shade smooth here as well. That's perfectly fine. What we need to do is add window glass. To add the glass, we can just repeat the same step one more time, separate everything. Let's shift D to create duplicate, escape and separate. And then click over here. Now click A and we have the window parts selected. Now we just want to close everything. I'm going to go into my edit mode, make sure that I'm in edit mode. I can go even into vertices by pressing one vertex selection. There we go. And I'm going to click to close it all. But now we need to also add some edges up here to make this a little bit cleaner of a mesh. Because right now we can see that we do have some shading issues going on here. By the way, one more thing that we can do is before we move along, let's just disable the selection so that we don't accidentally select these image references and then rotate by accident around them so it doesn't jump off too much. What I want here is just clean this up a little bit. I can click this vertice here, and I can click on this vertice, and I can click J. And it's just going to connect them. Let's, we can click here, here and click J, And then just connect it, I think. We can move. Let's see what we have here auto smooth. There we go. This part here is fine as is. Let me look because now if we add another cut in here, just to show what would happen if we add another cut in here. We get this look, we don't really want this. We could maybe try to add one more here. Actually, let's try and see if this is going to work. And then add loop cut here. And then remove these two. To solve this edge that is actually going to work perfectly, we can just move it a little bit more inside. There we go. Now we have quads here, we have a quad over here. There's one here as well. Everything here sticking while we are also maintaining the edge, which is great. Now, for the last part, let's just add some thickness into this. All right? Because it's pretty flat right now, right? And we want to give it some thickness so it looks stronger. The way to do this is we're just going to add another modifier. So I'm just going to start here with this part first. I'm going to click this, have it all selected. Going to add modifier. I'm going to add a Solidify. What is going to allow me, if we look here, is it just adds thickness to it. If I go in here into my solidifying modifier, we can see we can manipulate how much thickness we want. But we don't want to go overboard because then I'm going to start destroying the mesh. We just want to go a little bit. I think 0.01 is fine. Perfectly fine for now. And then we can do the same thing for this part here. Let's go here and add modifier solidify here. We have this also added perfectly, we don't need to add one towards the mirror. Then for this one, when we can, we can also add a bevel modifier so that we don't have such strong harsh edges. Now, we'll be adding also this bevel modifier to a couple of other ones later on. I'm just doing this now to show you the whole principle of the smoothie mesh and how this is going to function moving forward. Let's just go and add a modifier. And add here able. Let's just find it. Where is it always built de bevel. What the bevel is going to do is just going to bevel out these edges. That's why you want. Let's add one more segment so it's a little bit smoother, something like this. Now we see that we have a maybe of an issue with the glass. We could this a little bit more inside, a little bit more inside here. Let's just a little bit more inside this here. I don't think we have an issue with this side over there. I think that looks fine. We do have a slight issue right around here with the bevel, if I look at it, this is speaking, barely going to be noticeable. But it wouldn't be bad that we just clean it up a little bit. We just push everything a little bit more like this. It doesn't. Let's have the double selected. There we go. Here selected. So we just push it a little bit. We have it all covered. We can push this one for the thickness, and then this one for that side here, we can push the glass. I think that's about it. Now for this corner, you can see it's a bit rough here around the edges. You could go into the subdivision and add one more level of subdivision and that would fix it. There we go. We're going to close this chapter. We're right at the ten minute mark for the next part. What we're going to be doing is simply continuing to build out our smooth mesh all the way around. And then once we complete the smooth mesh, we're going to start building all the rest of the train as well. 8. Extending the Smoothing Mesh: Before we continue with expanding our smooth mesh, let's first group all of this so it gets a little bit more organized. What I'm going to do is I'm just going to click on this cube here, hold Shift, and then click all the way here. I select all three of them. I'm going to click the letter M to move to collection. I'm going to create a new collection which is basically just a group. And I'm going to call this Train. And I'm going to take all of these elements and then give them a name. If I double click here, then I can go and rename this. And I'm just going to call it Front Yellow. Then on this one I'm going to call it front rails. And then this one I'm going to call it window. Now everything is categorized by front so that I know what is the front part of the train when I look at it like this. Then this one here I'm going to call Smooth mesh. There you go. What I can do now is simply click on this here, Hide and Viewport. And if you don't have this, you can just go here and then select which ones toggles that you want to be visible. I'm going to hide all of these. I'm going to enable my smooth mesh by clicking on it. And now I'm going to go into my right view. What I want is simply to continue expanding this smooth mesh. To do this, I'm just going to click Alt. Select all this entire edge. I'm going to click Y and then zero first, because I want to perfectly align this edge here. I'll go into my old Z x ray mode. And I can see here, there's a little bit of a extra height happening. I'm going to lower this by collecting these two vertices, clicking on them, and then just pushing a little bit down. I'm going to push this here as well. Just a little bit down. That's about right. And then I'm going to go back in here. Now, let's go and start expanding. I'm going to be extruding it by clicking a letter E and then y, and then, and then Y and then y. And I'm just going to continue doing this for all of these windows. When I got here, I'm going to start here and I'm going to add one more here and then one more to the very end. Okay, I have one extra so I can delete it. Just to double check that you didn't leave maybe an extra vertices duplicates on top of each other. What you can do is click A to have them all selected. Then you can go and click the letter M and then go by distance and just check. And here it says removed zero vertices. That means that I didn't have any duplicate vertices really close next to each other. That's good. Now what we want to do is let's just go back here. Let's select all of this. Going to my right view, I do want to drop this a little bit down. I'm going to go all Z and drop this a little bit more down, just so it hits all the water like that. Then coming back here, I want to drop this part here. But I want to do it from this point. I want to select here, make sure that I have my active elements selected. There we go. So if you click period, you can change the origins here. And we just want to point to be active element. There we go. Now I'm just going to click and scale it all the way like this. But now if I look at it, it's a bit of a hard edge happening here. What I want to do next is I'm just going to click on this one here, a Z. There we go. A left click. There we go. Now I just want to drop this one a little bit down, but I'm going to do it by clicking twice, so it follows the edge. There we go, Perfect. Now from here, the last part is simply just connecting this all the way to the bottom. Let's go into our back view. Let's click this edge. This edge, and then this edge. We're going to click to extrude. And then all the way to go down. Once we get here to around the three de cursor point, we can click and then Z, then zero. Then from here we just go like that. Now we just need to add a couple of loop cuts to connect all of this. I'm going to start by adding lop cuts, one here at the bottom control. Or to add a loop cut control or here. And then just move my mouse, control our here. Then just move my mouse and then control our here. Now if I start connecting all of these, if I select all these four vertices, there we go, we fill in the face. If I collect these two fill bill, now over here we have a triangle. We want to get rid of that. We're going to add one more cut right here. Now also to get rid of this, there's a bit of a hard edge happening here, as you can see. We do want to push this inside, so I'm going to press G twice again. And I'm just going to go and push this a little bit more inside. I'm going to even do the same with this. I'm going to push this a little bit more like this. And then I'm going to click here and push this a little bit more inside. There we go. Now when I look at this, it is much softer. I can take these ones and maybe I can rotate them and just a little bit more. Let me just have this one selected because I want to use that one as a point. Let's see how that looks. I think that's fine. I might even go back here and just break control Z a couple of times till I get it back. Yeah, I'm going to just select all of it and then push twice and maybe push it a little bit here Y to get that going on. I think that's fine. I'm going to push this a little bit more inside twice to push this one a little bit more inside. This one. Here, here, here, and here. Perfect. All right, let me see if there's anything else that we might have missed. So the height here is good. This one here is good. Everything here looks good. Excellent. I'm going to close this chapter off, but in the next one what we're going to start doing is we're just going to be aligning all of these edges to make sure they are the same as they are on this side. As we can see, we have these edges like this. Now what we want to do here is just do the same thing with the edges. Then next what we need to do is as this align to this edge, we'll be doing that in the next chapter and I'll see you guys there. 9. Cleaning Up the Smoothing Mesh: Let us now focus on fixing up this part of the mesh. And also then this lower part, I'm going to go here. What I can do is with this edge here selected as a matter of fact, with this part all the way to here, I can go like this person twice and just pushing it there. Now, there we go. Let me see if I can do well with this one, I cannot. I will need to add one more edge right here. Then with this one here, this vertice here, I can go here, here I can go. I have this window, that's good. Now I want to do also this window here. I'm going to go twice here, here on this vertice, have these windows isolated. I have all of this going on here. That's fine. Now we just need to focus on this part here. For this part here, what we can do is take this Tic, push it here. This one, push it here, and then this one push it right about there. Now if we go into our face select mode by clicking three, I can click on this face and hold shift and click on this face. Now if I click on to inset them, we can see that we're instting. But I want to click letter B for the boundary, now it's going to inside, and I'm going to stick it to this boundary. And that's exactly what I want. I'm just going to go a little bit, not too far. Just I guess around here is going to be fine around this height. And then we can push it a little bit later. I'm going to click here. There we go. I'm going to select these two faces again. Shift left, click with my mouse on them individually, and then X and then delete these faces. Perfect. Now I can start also cleaning this part up. So I can take this vertice Y, push it here. I can take this one Y, push it here, closer to tighten it up. I can do the same on this end, Y, just push it, coy, push it closer like that. Then what I can do here is add another loop cut just by doing this. There we go. Let me see this. All right, and then push this one to close it, make it tighter. Then I can do the same on this end, add a loop cut, do this, push it tighter. I'm going to organize these ones here a little bit better. So that I have something like that here, let me just push these ones a little bit. Can let's just like this. There we go. Then here we have the same situation. I do want to organize this, it's a little bit cleaner. I want to push this. I'm going to take these three. This one, this one. And then I'm going to select this one in the middle. I'm going to click now to scale them over here to inside. As long as I have this active element selected. And I'm just going to push this a little bit higher, push this a little bit higher, then scale from this one again, closer to push it tighter twice, push this tighter, and then select all four of them, and then Z n zero. Then I'm just going to keep on tweaking it just as long as I can match up with what I want here. I think that's about right. I can go here, select all of these over here. Let's see what we have. I can click Y. There we go. And then here zero, just to make sure everything is good. Okay. Now with this door, I'm going to click on this edge. I'm going to push this down by clicking twice. That's good. Okay, I mean, I can go here just to make this a little bit more organized. I'm going to deselect this part by clicking control and going over it, and then pressing twice just as well. A little bit more cleaner. There we go. Now I have this entire edge that goes all the way here. I can go and take this part here with the door. You can push it down. There we go. Now we're going to need to focus on working with this part here. What I can do here is just take also this edge from here all the way to right about here. I can click, control the, oops. So that I Select this entire edge, and then I'm just going to press twice to push it a little bit more down like this. It's not too tight towards here, but it still follows this door. Still follows there. That's good. From here, what I want now simply do the same thing I did at the earlier phase, which is just take this part, push it up here, right about this corner. Take this one, push it right here, right about that corner. And then take this one, Y, roughly here. Select both of them. Y one more time. Then take this one right about here. Take this one, push it right about there. I can select all three of these. Click z, and then zero is them out. I can take this edge and just push it a little bit here, so it's a little bit cleaner on that end. Then I can take this one, maybe push it a little bit more like this. So it's a little bit cleaner on that end. Now, there is one more edge happening here. We can see that it's a bit of a harder turn. It's not as soft, it's not going straight, it's a bit harder. I'm going to do is add one more, cut one here, and then I'm just going to push this one right about here. Make it go like this. It has this turn. And I'm going to do the same right about here. So it has this turn. Now I can go and select all of these here. And do the same thing we did last time. Click to inset just a little bit as much as I need. And then click X. Let these faces, now we just need to make this corners a bit sharper. I'm going to add one more edge loop. I'm going to do it like that. There we go. Now I have quad here, like this. Now I can clean this up. And I have one more here, which is great, because I can now clean this all together. And I'll show you how exactly let me just push this here, it doesn't matter that much. Then over here we added one more, which was this one here. Now we need to make this part tighter so we can do this. Now we're going to have a quad here as well, which is good. Let's take a look at how this looks like. That's good. I do want to make this one a bit more like that. I think that's good. We just want to get rid of these edges here because they're pretty unnecessary somewhere up until this point here. And we do also have, I believe, four of them. I believe we should be able to handle it. Let's just see what happens. Let's improvise here a little bit. The way I can get rid of this cut up until this point here is that we see that we have 1234 edges here. Now if I just take this one and I delete it now here, let's see, 123456. Okay, Now if I go from here and I collapse all these edges, I can actually press this. Edges collapse and dissolve edges. There we go. So let's see how much. Now we have 123.4. There we go. Now what we have here is basically a quad. I can push this, maybe something like this. One can go a little bit like this, one can go a little bit like this. This here is a quad. That's what matters. We can go here, so we can push it a little bit closer to them. There we go. Now we just need to do is do the same here. X collapse edges. Here is also quad as you can see. Let's just keep this a bit more cleaner. Push that one a little bit too much, I would say. There we go. This part here, that's fine. Let's see this part here. We'll worry about this later. Let's just first clean up here. What we have, what I need to do is just collapse edge, collapse, edge. And I'm just going to repeat this all the way here. There we go. I'm going to push this here. I think I can collapse this one. Collapse edge. Let's see, What do we have here? We have this one. We have this one. I think I can collapse two. I can even get rid of this one. The solve edge. And now here I have 12341234. I have quads. That's good. Okay, everything here looks fine. We do have this side here. We need to do the same here. I believe if I collapse, let me see if I do this, I take this one out, even, oops, let's go back. I might even actually be able to collapse, because we have four here. I just need to take this one out to solve this edge. Then if collapse this group, now we have 1234, Sorry about that. And then here I can just do the same collapse this group collapse. Now we've cleaned up this part. Let me just go back here. Let's push this a little bit tighter, push this a little bit tighter, push this a little bit more up, push this a little bit tighter. So it goes like this, this can go here, this can go, this goes like this, this goes like that. There we go. We're just cleaning it up a little bit so it doesn't look so messy. And that's what we're going to be doing the entire time, just going back and forth and cleaning things up. I think we are pretty much good with this side. I do want to push this like this and then this like that to match up. I think this part is good. Let me just go and take a look here, how this looks. Everything just so we clean it up just a little bit. That looks good. Let's push this bit like that. That looks fine. This looks good as well. Let's push this one closer to this edge also fine. We can push this closer to each other to tighten it up. I think that's about it for this chapter. Perfect. We are actually now done with our smoothing mesh. And what we're going to be doing next is expanding what we started building off here with our front part of the train. We'll do that in the next chapter. 10. Building the Front: Finally. Now go back to building up our actual train. Let's finish up building this entire front part. I'm going to go into my front view, and then from here I'm going to, in my face select mode here, number three, I'm going to click here, holding shift here and here. I think that's all that I really need. And then 'minglic shift D to duplicate it. Escape, and then to separate by selection, I'm going to click on this dot here to go into the edit mode of this new part that we just duplicated. I'm going to put it into train. Dragon drop into train. I'm going to hide the smooth mesh and make all of this here visible. Then while I'm in the edit mode of the smooth mesh, what I can do is slick control R, scroll my mouse wheel three times on this end. Then maybe we can even do it one time on this end. I can take this edge, push it over here. I can take this one, push it down here. Can maybe spread out these two. It looks a bit better then from here, let's see, we can put it a little bit lower. But then we also can go here into this mesh above, Take this edge, take this Ft, pardon me, and then go a little bit up like this. There we go. Let's just see how that looks like. Yeah, that looks pretty good. I would say we can take this edge, push it a little bit more here so it's not so tight. Let's see how it looks like on the corner and okay, we should probably take this and then push it maybe a bit more front. The issue here, okay, now I see the reason why it's not a line as a matter of fact is because we did not add a shrink wrap modifier to it. Let's go into our add modifiers, shrink wrap, and then add here the smooth mesh. There we go. Now it fits perfectly. That makes more sense. Excellent. Now if I go into front view, everything looks good on this side. We don't even need this one. I would say I can solve this edge. Then here what I can do is I can push this a little bit more up. We can push this a little bit more up. Maybe I can push this one just a little bit down. Just get this warning. Let me see how this looks like on this side. I think it is going to be fine. I can push, this may be a little bit more up. Not too much is just like a little bit of tweaking here and there that we're doing, but I think this is going to be fine. Okay, now I just need to take, let's see, what are we missing here? We're just missing the solidify modifier. So this one here, we can go in here and add it. Let's go into add modifiers. Add the solidify one. There we go. Let's see how much is the solidify here is 0.01 negative one offset 0.01 negative one. They're using the same offset. They're identical and that's perfect. That's great. Let me go into my smooth mesh here. I just want to test out and see how this is going to look like if I take this edge and I just push it a little bit more here. And this is going to do is just soften this corner up just a little bit. Let me go back here. If I do that, I get this issue here. I don't really like that shading going on. I'm just going to take that as it was, to be honest. Even just push it just a tiny bit. Yeah, there we go. That's much better. Perfect. Now we just need for the final part to add this yellow at the bottom. We can do this so that we don't have to go and read all of the shrink wrap and the solidifying all the out. For this one, what we can do is simply click on this final edge while holding Alt, Selecting entire edge. And then shift to Duplicate the edge. Click Cape, Go and Separate. And then click here. Click A to select All. And then now to ex Z, to extrude downwards. There we go. I can now click and then zero to flat it all out. I'm going to add one cut here, and I already have one over there, so I think that's fine. I might add one here at the very bottom. I'm going to click on this edge. This new measure that I created, Shade auto, smooth. There we go. What I can do here is maybe put one more here at the very top just to tighten it all up. And that's about it. There we go, we have our entire front part of the train completed. 11. Cleaning the Front & Building the Top: Before we go and build the top part of the train, I do want to clean this up. It has been bogging me a little bit. What I'm going to do, I think this is just going to be the best and easiest fix, is I'm going to go into the smooth mesh right here. I'm going to focus on these four vertices. I'm going to start off with these two. What I'm going to do is just press Y and then push them a little bit inside. And I'm going to push them a little bit downward, like this. And I'm going to do the same with these two. I'm going to take on Y like that, and then I'm going to go G, G. Let's see how this is going to look, clean up. It's not as aggressive. This part here, I think this might just fix it up the amount that I want. I see it's not too aggressive and I push them all together. Get one more time here and push this one more time here. If I go with these two and then just push them a little bit more down, a little bit more down with these two as well. Ideally, what I would want is maybe this one to go like this, then this one to go like this. Right? And then can movie this up just a little bit. Let's see why we've done it now. Let's see if there is any impact. Oh yeah, for sure there's some impact. It's barely noticeable, but it cleaner, I would say in total. When looking at it, it just looks cleaner. What I'm going to do now, when looking at this, there's a bit more of a bump here. This isn't really going to be visible, so I'm not going to focus that too much on it, as a matter of fact, looking at it Now what I do want to do is push this even closer. I'm just going to go like this and tighten the gap. As a matter of fact, even though this gap isn't going to be visible because it's going to be covered by the rail for now, I am more than happy with this. This looks great, to be honest. What we're going to do now is then to focus on building the top part of the train. We can do this in two ways. I'm going to, I'm not even sure to be honest which one is going to work better for the first attempt, what I'm going to do is I'm going to go into the smooth mesh here. I'm going to hide the train. I'm just going to select all of these vertices and see once I duplicate them, how that's going to look like. To speed up this process of selection, I'm going to click, so I go into this Select Circle mode. And while holding shift, I'm just going to go like this. There we go. And I'm going to do the same here. I just want to make sure that everything here is selected. And then everything here in the back is also selected. This part we can keep as is. We don't need to do that or anything. Let's just look here on this side. Yeah, I would say this is good. Then here on top, I would say this is good. Let's see if this is going to work. I'm going to click, then I'm going to go into separate, there we go, I'm going to go into this one here. I'm going to push it into the train. Now I'm going to hide the smooth mesh. I'm going to make the train visible. And this looks pretty good, I might say. And we don't even have it yet wrapped around the smooth mesh. We need to still add our shrink wrap modifier here, then put it onto the smooth mesh there. We're going to need to push this a little bit up. That's fine. We can even do that right now. Let's see what are our options. Let me go click a couple of times more, so I get back to the box select mode, which is what I want this here. Let's first try by clicking on all of these and just pushing them up. I think we even selected extra. We can select, actually select these all the way here at this edge and then just delete the edges, or delete the vertices. There we go. Now we can take this vertice, just push it here, close this gap. There's also this one here. Let me see. I think this is a reagent over here, so we can even delete this vertice. It's not going to kill us. There we go. I think that's more than good. We can make it tighter if we want, but I don't see it's making any impact. Now I'm going to keep it as is. One thing I do want to add is the solidify. Let me go here and add the Solidify modifier. That looks really good. There we go. We have added the top part of the train. Now this is starting to look like, this is starting to take shape, is starting to look like something. Let me see if I push this. There we go. Now we're tightening it even up. These edges really aren't going to be visible. Like this edge here isn't going to be visible to be honest, because it's going to be covered by this rail. We don't need to worry about it too much, we just need the out external part of it here to look good and to have somewhat decent topology. Because that's the part that we want to, that we need to worry about. To be honest, everything here now looks good to go to the next step. 12. Building the Side - Part 1: At this point, it's up to us which part we want to move on and start doing next. When I look at this mesh right now, there are a few minor things that do want to clean up. The first thing that pops in my mind is this corner right about here. What I'm going to do is go into my smooth mesh. I'm going to hide this train. Going to edit mode. I'm just going to push this a little bit more up somewhere around here to make this transition a little bit smoother. Let me see how this looks. Okay, let's see now if that made an impact. Did make a little bit, but I do want to do it at this point here at this cross. Let's go back here in the train. I think this is, this end here. If I move this little bit more like that, maybe this one at a little bit back, I think this is going to help me get what I'm looking for. Okay. I'll just need to maybe clean up this portion here. Okay, Let's clean up this portion right there. Perfect. Let me look here. That looks a bit better. Not too much better. Something is still a bit off, and I think it has to do with this edge here. If I go into the smooth mesh, push a bit here. If I push a bit more, let me see, from the front view, push a little bit more. Okay, then now I go here. Okay, that does help a little bit. Now I just need to go back in here. What can I do here to make this work a little bit better? This corner, just pushing it here, I think is going to do the trick. I think that's going to be fine. We could add potentially one more edge loop here, but let's not do that for now. Let's keep it as is. I think this is fine for now. And then if it bothers us, if we see it, it causes any issues later or if we cannot fix it or hide it, we'll worry about that then. Okay, let's now continue in expanding this part over here. So we're going to start with something easy, which is this. To do that, let's just go hide our train. Click on the smooth mesh and then go into our Z face select. And then select these 1234 faces. Five faces we have here. I'm going to click shift to click by selection. Then I'm just going to click on this one, push it into the train, and then hide the smooth mesh. Unhide all of the train exit the x ray mode. From here I'm going to go and add few loop cuts. We're going to push these loop cuts all the way up. I'm going to push these ones all the way down. I'm going to push these ones to this edge. I'm going to push these ones, this edge and these two. I'm just going to spread out somewhat evenly like that. Then over here, I can decide whether I want to push this part here closer to here. I can push this one closer here. I'm going to try and push this one closer to there. We don't want to want too much, but just a little bit to close it all off. I think something around here is fine. We can push this one a little bit back. We might even push these ones a little bit about, right, I would say. I think just having it, something like this is going to be fine. Let's push it maybe a bit more closer. That's good. One more thing. Sorry about that. Let me just, if we look at the height of this, we do want to lower it down. Let's just go right about here. This matches to this part. Now, I can just push this edge to tighten it up. There we go. We can do the same here twice, putting it closer, tightening it all up. Now last thing that's remaining is adding the solidify modifier. There we go, we have a solid. It looks good on this side, looks good on this side, looks good on here as well. We can lower it down just a little bit so it fits better with this part here. We have it all a bit better matched up. Let me just go here, 00 it all out, perfect for this part here. We're going to have rail going through here. We're going to have this thing going through here. These parts that are not connecting. They're not going to be visible. The idea, it's not going to be visible that they're not connecting. Having a little bit of this space is perfectly fine. Even this, a little bit on here is fine. We don't need to worry about that. We can just hide it. It's not going to cause us any issues in the long run. Having it all like this for now is more than okay. 13. Building the Side - Part 2: This video, I want to focus on building this yellow part of the train. And only up until this point here, we're not going to be building the rest of it, we're just going to be focusing on this side here. The reason for that is quite simple. That's because the same technique that we use here for building this side and these windows and everything here is going to be pretty much the same technique that we're going to have to reuse for each part here of all these windows. For now, for this section, I'm just going to try to do this slow and take my time with it so that you guys can better understand why am I doing certain things. Then this part, later on in the next video where you're just going to go speed through or try to speed through. To get started with this part here, what I'm going to do is simply go into my smooth mesh right here, and then I'm going to hide my train collection. I'm going to go Tab and then all see so I can see the faces. Before I start doing anything else, I do want to push this edge, so I'm going to go into the edge. Select here, and I'm going to push this G little bit up here just for later. This is going to just save me a little bit time later. And no, I'm going to go back into my face select. And I just want to select all of these phases one by one. That, there we go. Now we're just going to do the usual shift to duplicate all the faces, click, escape, click to separate by selection. There we go. Now we go here to change the object, the current, there we go. And then drag this one into the train. Go into our train collection, hide our smooth mesh, and there we are. Now this is going to be a great opportunity to actually use one of the plug ins that I showed you how to install at the very beginning of this tutorial. The plugging that we're going to be using in this situation is going to be called the copy attributes plugging. And we could have used it even in this method here, but I did want to go slowly at the beginning, but now we do want to speed up the process. For instance, we see here that this mesh that we just created has the mirror and the subdivision modifiers. And we know how to add these modifiers by hand, right? Even if I go here and click on this one, we see that here we forgot to add the shrink wrap. Or matter of fact, I forgot to add the shrink wrap kudos to you if you've already added it. A quick and easy way to do this to the modifiers that are here and transfer them to here is the copy attributes plugging that we installed. The way it works is quite simple. You just click on the mesh that you want the attributes to transfer to. This one is now here. Then you click on the mesh that you want the attributes to transfer from. What I'm saying now is that everything that is in light, red, light, yellow, transfer these modifiers to this one here. I click here first, and I hold shift, I click here. And then I want to transfer all of the modifiers from here to here. I just press control C and I go copy modifiers. Now if we look, we can see that all the modifiers that we're here are also here. Now in this instance, we are missing the shrink wrap modifier. I'm going to do the same now. I'm going to click here, Hold shift, click here, rest control, copy modifiers. Look, the shrink modifier is right there. It copied everything perfect. Now from here, what we're going to do, let's just clean this part up a little bit. I'm going to go a Z. I'm going to go into my edge select mode from here. I just want to push this a little bit more down. I'm going to add one edge loop here to tighten it a little bit up. I'm going to do the same here on top. I'm going to add an edge about here to tighten all up zero. I'm going to do one here, basically one to each corner and I'm going to tighten this one up as well. Y zero. There we go, Perfect. Now, next I want to do is I'm going to take these two edges. I'm going to just push them down. 01 here. Push it zero. Now I'm just like cleaning up my geometry here. Y zero. Oops, there we go. Y zero. I'm just pressing G twice. Moving the vertices, positioning everything to be straight as possible. There we go. We added an edge here. We added an edge here. We did add one here, and we added one here. That's great. Now we need to add one here in the middle. Now we just need to start tightening up, adding a few more edge loops. So we're going to add one here to tighten this corner up one here to tighten this corner. If you can see what I'm doing is basically what's happening is this, as I'm adding the edge loops, they're tightening up these corners right here. There we go. I'm going to add one here from the outside of each of these corners. You're going to need to add one edge loop. We're just going to make sure that there's basically one on the outside of each corner. Let me see. I think I don't need this one here. Yeah. All right. I think these are all that we need. Now, if we look at this geometry, there is definitely room for improvement similar to what we had here when we were building this part. Let's improve the geometry here a little bit. The way we're going to do it is simply by clicking Do the Knife Tool, and then we're going to start cutting in edges here. I'm just going to create an edge here. Then I'm just going to sell, select this entire edge here and simply dissolve it. I'm going to do the same one with this here. Dissolve it. That's going to create these two quiz. And everything is good here. Let's do the same over here, except here. We're just going to go like a V shape here. Now we can dissolve. We can dissolve, let me see. We can dissolve this edge here. We can dissolve this edge here. I think. We can dissolve this edge here. There we go. Let's do the same here. This is the process that we're just going to be doing all across here, which is adding loop cuts and then cleaning up the mess. So you could really keep it as it is right now, but you are adding extra geometry then, especially if you, if you have a larger scene. It's just a better practice because you do want to worry about optimizing your geometry and optimizing your scene, depending on what kind of a PC you have just did here, was aligned these edges a little bit more with the corners. What I was doing now I'm going to go back to what I started initially to remove these edge loops. Let me add one here and then remove these edge loops. There we go. I think I removed one wrong here. I should have taken this one out and this one out. Then here I can just do the same. Let me go and cut like this, like a V shape. Then these inside ones out, I'm taking out this one here. Then the last one is this one here. There we go. Take out this one, Alt, left click, take out. I think these are all that we can even take this edge out. We don't need this edge. All right, that's great. From here, what we can do now next is simply select these ones and push them a little bit more here. We can try to match up these corners a little bit better. They don't need to be the same and identical as the ones on the side, like these ones don't have to be identical as these. They can be a little bit different because we do want to add a little bit of that imperfection and try to destroy the, how would I call it? How do you say proportional side of it? We don't want everything to be quite identical, symmetry. We want to destroy the symmetry a little bit, because nothing is fully symmetrical in the real world. There we go, I can see that there's this corner over here on top, this edge. We don't need to fix this, but we can later on. The reason why I say we don't is because like I said, the rail is going to go over this and it's going to be barely visible. But we can spend some time later on and try to fix it. Once we're done with the rest of the train, let's go here into right. I am going to select this edge here. Just push it a little bit inside. So G, Y. And I'm going to push it to close down this gap a little bit. And then I'm going to select just this side here. These three edges. These three vertices, my bad. Then just go y, try to close it down a little bit more. I think that's perfectly fine. Let me see. Yeah, that was good. Excellent. All right, I think this concludes this video. We're not going to be building the shield, the windshields, and again, I really have no idea what this is called. We're not going to be building that yet and we're just going to be focused on building the yellow part. And then once we're done with that, we're going to select all of them and then build them at the same time so that we don't have to go and build one by one or two by two or et cetera. All right, so this is it for this video and I'll see you guys in the next one. 14. Cleaning up the Side Mesh: Before we start building the rest of the yellow side, we need to do a little bit of clean up. Primarily, that's going to revolve around cutting this part out. And then also we need to clean up the smooth mesh once we cut it out a little bit so it all fits nicely. Let's start with the easy part which is cutting. Let's go in here. Let's select all of this. Going to edit mode. Do this up to here, and just be careful that you don't have any other vertices selected. Let's delete here the reason why we deleted this. I'm not sure if I explained it that well, but because this wraps around, as a matter of fact, what we had is this going down. Instead of going down, we needed to have it wrap around. Which means that also this top part, it needs to finish up until this point, which is why we're removing the vertices all the way up to here. We can even go and delete this part for now. Then over here what we can do is click Sz00. It all out. We notice we have a little bit of an issue happening right about here. It's not an issue, but we can notice it's a bit of distortion happening. I think what we can do is if we push these two edges a little bit more inside, that's going to help us. We might need to push this one a little bit more inside then. Let's see if we push this one a little bit more down, maybe more outside. This might more or less help us with the issue, all right? We're probably going to need to have this part here before we can really know how well this is all going to look. Let's continue with a little bit of clean up with the things that we do know. Another thing that pops in my mind is if we go into the smooth mesh, go here. We can take this edge here and just push up like that. There we go. Now the next thing is we need to be able to select this entire yellow part. We have everything good up until, I would say this point, here we go, and clean this part up. So we need to push this Ftc up, we need to push this vertice up. This one then I think from here I was meaning, yeah, vertice edge. I constantly mix those things up. Which I shouldn't do. I know, but yeah, from here, let me see. Let's take all the way up to here while clicking this one. And then control while clicking this one. And that it picks the shortest path, then S zero. Then we're going to take this one here, this one, push it up. We take on this one, push it a little bit up. Let's push it a little bit up like that. Okay, let's go from here to here. Oh, this, It aligns nicely with that. I think we're going to need to do the same here. Zero. We can even select this one. I think if we have this one as active element and we press zero, it's going to use this active element to zero everything out. Everything is going to zero out based on the element that we want. And that's what we want to do. There we go. All right, we can even try this one active and zero, and then that's going to give us a better idea. I think this is good. This looks good here. We can do this one. There we go, zero. Let me see how this is all looking. Okay. We can push this side. Now if I look at it, we might be able to push it a little bit more inside. Let me just select everything, Go into, I can select all the vertices, then try to push this a little bit more inside. Just so we have a bit of a better fall off happening here. Let's push this here. Let's push this a bit more inside. We can take this one all the way to here, and then press X zero. And maybe even rotate it. It fits a little bit nicely. We can do the same with this one. Make sure that the top part is selected. Rotate a little bit. Let's do here also clean up. Zero, Z zero. Let's see how this is all looking. Let's do all the way here. Let's go from here all the way to here. I think that's where how we were going to want to have zero. There we go. I think from here all the way to here, zero. And then from here all the way to here, we can just go zero and then push it just a little bit down this one. We can do the same for this door. We can actually, we can just go this as zero. There we go. I think that's about it. I really hope I didn't miss anything. If I did, we're probably going to have to just deal with it later on. Let's just see how our mesh looks like. Okay, How does it look over here? Okay, there's this part here that's a little bit bugging me. Let me see if it's causing any issues over here. There is some minor issues that it is causing. Let's little bit of clean up here as well. I could probably push thing like this. I'm not sure if this is going to help me though that much. We'll have to see. Let's go into the train mode. What I could do here is simply, let's see, Well, I have this here, I can take do this, then maybe add one here and this is going to help me close the gap. That's a great help. That work great. Now from here, what I could do is maybe just try to this inside a little bit. I can use this one here as the pivot point and then just rotate inside. Let me see. There we go, Z. There we go. I think this looks good. All right. This tweaking is going to also depend a little bit on how you have your scene set up and how closely you followed the steps that I've been doing. I'm showing you essentially what are the things that I'm doing, but in some instances you might think about how can you make this closer and you don't need to worry about having this little bit hole here is perfectly fine because as I said, we're going to be having rails again, I don't know how to name these things. We're going to have these rails go through, this is going to go on top and it won't be visible. As a matter of fact, that is perfectly fine. All right, I think we have everything as ready as it can be for now. In the next section, we can finally start building this thing here. 15. Building the Side - Part 3: Now that we've cleaned up our topology a little bit, let's start off by building this yellow part of the train. Quick heads up. This video is probably going to take longer than all the other ones because of the amount of windows and amount of clean up that we're going to have to do as we go along. It might even become a bit of a repetitive process. If it does, I might speed this video up later on in post. But one key thing is that we are also going to probably encounter some instances in which we're going to have to do a little bit of problem solving, especially at the beginnings of here. Here. Without any further do, I've already wasted almost a minute. Let's start off with this right here. Let's go into our smooth mesh. Let's hide our train. And now o z. Go into edit mode and start selecting these phases. Just make sure that you are in the select box mode here. Then I click like this. And also if you want toggle between the modes, you can click here. Kk allows you to click on different types of Select modes, but for now I'm just going to stick with the Select box mode. I'm going to click here, Shift click here, Shift click here. And then from here I'm just going to click with my mouse. And then drag it all the way here, click here, drag all the way here. And then click here, here, here, there we go. This is just going to be a bit of a faster process here because we now also cleaned up all the lines that we had over here. This is going to be very easy to select, just make sure that you are in the x ray mode by all Z, right? And then going like this. And here we have everything that we need. As a matter of fact now we can just do the usual, which is Shift to duplicate, click Escape to put it back in the position where it was. Click to separate, and then separate by selection. Click this here, the new mesh that we created. And then drag it into the train. Hide our smooth mesh. And then unhide the train, exit the x ray mode. And here we are. Now this is what we're starting with. Perfect. From here. What we want to do is we just want to join these two meshes together, this one and this one. If I click on this one first and then click on this one, if I join, it's going to take the meshes from this one and put them onto this one. I might want to do is click this one and then go here. That way all the modifiers that are here are going to transfer here. Let me just see if I click Control and J, I was wrong. What you need to do is click on this one, go here, and then control J. What I did was I just did a couple of steps and then I went into here. And there we go, now we join them and all the modifiers that were here got transferred onto this one here. Now if I click on it, we can see that it has all become one mesh. I'm just going to undo one more time. So you can see if we have these two here, had them selected, click J, then that's what we got. It transferred the modifiers as well before, but now I have to go like this. The control J, there we go. Okay, that was a bit too much explanation for something very simple, my bad. But the next thing we want to do now is merge them also here with the vertices. To do that, what we're going to need to do is go into al Z and we need to make sure that we have this vertice. We can put it somewhere. Actually, let's take this one here and put it closer to this one over here. If I hover my mouse, if I scroll over, we can see that even though it looks like we have one selected over here, it says that we have two vertices selected. We can see there's two right there. If I do this, select those two vertices, just make sure it says two over here. Click merge at center, It's going to merge them over here over here. I'm going to do click like these two as well, and then merge them. And there we go. This is our starting point now that we have all of this connected here like that. Okay, from here there's going to be a little bit of, like I said, problem solving that we're going to need to tackle primarily. It's going to have to do with this part here. What I'm going to start off with first is I'm going to start by adding a edge loop here. I want to mirror everything, how this side looks to everything on this side. I just want these two sides to be pretty much identical in terms of how the topology is done. I want to do this, then I also want to add one here at the bottom. I'm probably going to have to go and add one over here as well, okay? Now, what I want to do next is we see that this goes here and it connects, which is pretty much. It's the same thing as this one. This one needs to go up like this. There we go. Then from here, let's see what we need to do next. Let's see, this one goes there, this one goes there. Okay? We need to add another cut all the way here. It follows this structure. That cut needs to go from this part all the way there. As a matter of fact, we need to take one cut and just start going like this. Click it creates the cut one more time into our knife tool and start cutting. And then I press to my middle, tap, middle mouse button. I click here, sorry. One more time. There we go. Click. Click Enter. And then from here I go, I click, I'm going to go all the way. I probably I'm going to come up to here for now. There we go. I just want to make sure that everything here is just one perfect. Okay. I'm going to come up to here because I'll deal with this part later. For now, I'm going to deal with this here. Okay, From here what I need to now do is add one more cut. It's going to go right about here. And that cut is pretty much mimicking what we have here. We can press S and then zero G. Put it down. Okay, there we go. Now over here we can get rid of, let me see, this goes all the way here. That part. But then this part goes all the way also here. But this part we don't need. We can take out this part. We can add one more cut like this. Then we can go Y0g. Put it like that. Now if I have four cuts here, 123 vertices, 1234 forward vertices, four vertices everywhere over here, I have four vertices, and this side looks identical to this side. Now for here, it's a bit easier. We just need to go like this. Add one here, add one in here. Then we need to do this, I believe we need to just remove this one here. We need to remove this one here. And this already matches. Pretty good. Let's not worry about this, we're going to come back there later. I just wanted to go back and see while we're here, we can do this one. This one is really easy. We can just push this here. This pressing twice, push this one here, push this here again, pressing twice. For now, what I just want to check is this part here and how to handle this. The way I handled this here is I went all the way there and then I connected it. I'm just going to go all the way here. Then I'm going to connect this, I think. I'm not sure. My bet. I'm not 100% sure if I'm doing this correct. So let me just check. It does need to connect to this one, and then this one would probably have to go here. And then from here I need to add one more cut here. I need to add one more cut here. And then I need to take out this one here. I think that solves that part for me. Let me just make sure that this looks identical over here. If I push this here, then I have something like this. I have two, and then this. Then if I go here, I would have to put this probably like that to have that. But the reason I don't do it here, I should probably do it here as well that I look at it. And I should probably do it here then I should probably do this. There we go. I think that's really what I was looking for. I can push this one here if I want to make it like that. Exactly. And this could also go lower. But we want to keep this edge as is. Let me see if I do this. Push this down, there we go. It doesn't really affect this edge, so that's good. We can do the same, probably. Let's see all the way there. We can also see here that this one door is actually higher than the one before. Let's just keep that as is. Okay. Now from here I can go even from this side or from the other side. I'm going to start from this side. While I'm here, I'm going to start adding. Loop, cut here, loop cut here, and then with the knife. And then take out this part. Take out this part. Loop, cut here. I want to add one here. What I can do here is go like this in the middle. And from here, go like this, like this. Take out this part, take out this part. Let me see. Do I need this part? Well, what was the point of having do need this part then? There we go. Perfect. Let's go continue. Let me just double check. Yeah, I'm doing everything good on that end. Then here we just need to do the same. We can start actually by adding a loop, cut each middle part here. Now this is, like I said, this is the part where it's going to become a little bit repetitive. I recommend you try doing it on your own, but you can keep the video on, then follow and do your own the check if your topology is okay, If the loop cuts, if you have only quads and tries, we're going to be doing a check up once. We're also done with this process, there's no worry about that. Let me see, I don't need this one. There we go. Because sometimes mistakes can simply happen by default. For instance, right now here I'm noticing I need to do this because I forgot it. But then as I do that, I need to do this, do this, And then I need to push one more here because it becomes so repetitive and sometimes a little bit simple. You think that I notice by heart now, then all of a sudden you just make a mistake. Which is why it's also good to have some a process. In my case, my process was to practice this video a couple of times. I wouldn't waste too much of your time on trying to problem solve myself again. What we're doing now is just making sure everything here is in quads and connecting this one, It is pretty much the same process that we did right here at the very beginning. The cool thing is because once things become a bit symmetrical like they are right now, you start noticing it. And it's much easier to tell if something's right or wrong because we see that these two are the same. Here is the same as this. Now, this is obviously different because of how it's done. If I put this, these two are very similar. These two are very similar. Things just start looking pretty much the same. It does become a little bit easier to notice if we make a mistake somewhere like that. And then here I just did a mistake. Instead of deleting this one internally, this one and adding a cut here. And let this one internally adding a cut here. I should have pushed this one. When you rush things, it just sometimes doesn't end well, which is what I just did now, rushing this one. And I didn't do well because of it. Let's see, something's not right here. I took that one out. I do need to take these two out. There we go. But then I also need to take this one out. Okay, there's something wrong here. This one goes fine. But this here is unnecessary ledges. Dissolve vertices. Let's see why did I add. That's just odd. Let's start resolving this edge first. Okay, let's solve this edge. Let's solve this vertice. Let's solve this edge. That's just weird, but like I said, when you rush, sometimes things like this can happen from here. I'm just going to push this knife all the way here. Actually, here is where it needs to go, then this one needs to go all the way. Here to here. Then here. This one just should probably go from here to here. Or starters, I just lead this face, there we go, here. I just need to connect to this one. Let me see. Then I need to connect this one and I just need to push this one there. And then I need to take this one out. Looks like it. Just make sure that you have your edges. So I think the issue that I just did before was I was in a verdict select mode. And so when I was selecting it deleted the vertices. Instead of just selecting this edge, it extended. So it extended further than it was supposed to essentially. All right, everything looks good. I can just line this up a little bit better. I can connect this here. This looks good. We haven't done anything here, and we haven't done anything here as it looks. So we can just need to do that. Do this, like I said, this is a repetitive process. I might even let me see how far we are. We come three, I'm going to go all the way halfway through and then I think I might speed things up up to here maybe or something. We'll see we're not doing anything new here, realistically. We're just repeating the same old tricks, the same old tools that at the very beginning, just now, we're doing them in a much higher volume. A little bit, maybe quicker, I would say. With a little less explanations so that we can speed this process. Yeah, I'm more than halfway through. I think these two, I guess three windows, I'm going to now speed up. And then, let's see, I'm just comparing these three because these guys are a bit too tight. I, C, Y, okay? Because there we go. Okay. Yeah. So I'm going to speed up now. This part here. All right? I think that's it on this part of this side. Let's now do a final check up. Because I see, for instance, I made a mistake here. Didn't dissolve it, didn't dissolve this edge. And then I didn't do, as a matter of fact, I didn't do anything here. All right, let's do a final check up just so we make sure visually that everything matches and is in order. If I look at here, this is fine. These guys are fine. There we go. Everything here seems fine. All right? Everything here also fine, I think. All right, here, this part looks a bit different. We need to do this. Get rid of the triangles. So we have a perfectly beautiful quads, okay? Everything here looks fine, okay? Everything here looks great. Excellent. Yep. Everything over there also looks good. Let's see this. Everything here is looking good. Okay, let's now start adding an edge loop also here. We can add one, I believe, here. If I push this here, then I need to take this. And then we can just keep this one as is for now. Because we have no windows on this side, There's really no need of doing that. We can just go this one here that we look at our geometry, that's pretty good. We can lower, let's see what we could do here. Okay, we could lower this one. And this one goes going way too high, it looks like, which is also messing up modifier. Yeah, I think this is messing up the modifier a little bit, which is what's going on there. So if I push these two up, that's going to be a bit easier Then here I'm going to take this, push it a little bit more down. There we go. We could add one here that's going to help me with the corner if I really want to have that type of corner. Later in the next video, we're going to focus on matching these doors to look similar. And we can also do here, we can go here and maybe a little bit lower. Take this one is, that's fine. We're probably going to have to push this a little bit lower. We can do that now let's do that now first. As a matter of fact, we just want this to match up with this here. And SC, there we go. Then we can go from here, select this edge, all the way here. There we go. We can select all the way here that we probably take this one and then just drag it down so that it squeezes. I think that is good for now. This video is very long by default already. Even with the time lapse with speeding things up, it's still very long. Let's cut it short here, then. Next video, we're going to clean everything here up so it matches a little bit better. And we'll also do the windows. All right guys. I'll see you in the next video. 16. Adding Windows & Cleaning Up: That we've done this part here. Let's do a little bit of clean up and just double check if everything is correctly done. First thing we can check for right now is do we have only quads or are there any tries or polygons in general here in the scene? I believe last time we did add this quick shortcut for faces by size, we created a shortcut, but in case we can just always go here, select, select all by trait, and then go faces by sides. Now here we can tell which faces we want to selected. Right now, blender is selecting all faces that are equal to four. But what if I say, I want all faces that are equal to three? Show me this part here. This part here. This part. There's a couple of places that I made a mistake. Looks like that I didn't do a good job of setting it up. Let's see if there's an with five. It doesn't seem to be that we only have a couple of triangles that we need to clean up. Let's start here quickly. Let's see what's the issue that I did over here. Over here. I didn't take out this part here because of that. Right now we're getting this triangle of three vertices. So I'm just going to select this edge, so I'm going to press number two. And let me go back here and add, there we go, Sur. So you guys can see all the keys that I'm pressing. What I need to do here is just click Alt left, and then I can hold shift, click Alt left to cycle this one. And then I can go X and then dissolve edges. Now we have quads here, which is perfect, which is what we want. Then let's see what was the other place you see. Now, it's really cool to have that here, because I can just go like this and say, okay, this is the one that I missed. There's one over here, over here. What I missed? Let's see, I didn't delete this. Solve this edge, and I can just push this here a little bit. And then I can go again, faces by sides. This is the one that I missed. I need to add one loop, cut here like this. I need to take out this one so that we can get quads. There we go, I think that's all. We can go, like this, four. And then we can say less than four. Okay, And then we can go than four. We can also select all of it. So we can go just press A and then go into Edit mode. And then deselect everything presque, basis by sides. Let's see, Greater than four, it looks like nothing is getting selected. Which is good? Less than nothing's getting selected. That's good as well. Great. Let's see what do we all have here? That's good. That's good. Now let's start aligning these windows a little bit more closer to what we have here in the reference image. We're going to do this manually. We actually don't want them to be fully symmetrical to each other. We do want to leave a little bit of room for that difference or imperfection. As a matter of fact, I'm just going to push some of these here on push. I'm just eyeballing that. Which is fine. I'm going to push this one a little bit here. Then I'm just going to press and push this one a little bit more up. This one a little bit more here. This one a little bit more like this. You can do this at your own reference and pace. That is going to be more than fine. As I said, they're not going to look exactly identical, which is fine. We do want some similarity but not exactly complete because once it looks completely, your eyes immediately will notice it and you want to disrupt the pattern. Our eyes are pretty well trained in recognizing patterns three D. Well, whenever you build something in three D, if you probably noticed by now, everything tends to be perfect. Perfect angles, perfect shapes, corners, sharp, et cetera. So our role here when it comes to realism, is to almost break that perfection, because the actual world around us is full of imperfections. That's really one of the key ingredients for realism. Now, naturally imperfections, especially when it comes to symmetric symmetrical parts or things, are less common in hard surface. Realistically, something like this is probably going to be made in a factory and it's going to look very similar to each other. Almost identical, but there's always going to be a little bit of that difference. Nothing is ever exactly alike. All right, let's go here. Let's lower this. Somewhere around here is fine. I think somewhere around here is fine. Can go here a little bit more inside. Push this one a little bit more inside. Let's see how that look. That looks perfectly good. If you ask me these corners look good as well. There's a little bit of a bump over here and I'm looking at sold lower this or should I lower that go? A Z can lower just this here. Is that going to solve our issues? Again, we don't have to lower it fully again here. I know we did a little bit of changing here, so let's just push it a little bit more down. Yeah, that's good. Let's see, what else do we need to do now here? Well, let's go and add our windows. To add the windows here, let's go and ******** shift. We do multiple selections and just click on the corners of these loops that are going. Now we're going to add first the wind shield shield or whatever the rails or whatever this is called. Just make sure that you don't have active elements selected but instead you can have, I believe, individual origins. This. Now if we press, and then we are extruding inwards and they're all going to be more or less symmetrical. One thing that actually don't press anything yet. Click, escape, click. Let's see, Yeah, we did this. Let's do this. Let's go do a few more. There we go. Let's go and select this one. First of all, we forgot to do is separate them. Once we have all of them selected, let's go. And then there we go. Now let's click on this. Here, let's click A. So it's going to select all of them. And now we can go. And then there we go. Much better, perfect. From here I do want to push them a little bit more inside, so I'm going to go into my solidify over here. I'm just going to go and type in negative 1.5, maybe even more. I'm going to go maybe negative two. Let's see how that looks. I think that looks great. I'm going to go she shade auto, smooth. Now we just want to do the same thing just for the glass. For the glass, We're just going to select the windshield. Think that we just did. There we go. Let's go into our right view. Perfect. Let's click Tab. And then let's make sure that all D's edges are selected as they are right now over here that I have only have D's edges selected. Let's go shift, click Separate the selection. Click on this one here. Now the new one that we created, click a, slect them all, and then click. Now that we have this, it's really all about connecting them. We can go click here, click this, connects to this, this connects to this. Clicking J connects to this, and this one to this one. Now you just need to repeat this step for all of these individually. I'm going to just speed through this, to be honest. That's pretty much going to be it for this video. We are right at the ten minute mark. Let's just call this one more or less a day, you can just continue repeating the same process and I'll see you guys in the next video then. 17. Adding Modifiers, Cleaning Windows & Building Sides: Before we start building this red desk part in the middle. I noticed the small issue and it might also happen to you. I'm not sure if you've noticed it or if you have it, but if you have encountered this issue where the mirrors, where the glass is going outwards, it's because of our offset from the solidified modifier. But if we take a closer look at it, as a matter of fact, we can see that some glass is actually set up correctly. And then if I go like this, we can see that it's almost inversely, moving oppositely from one another. What is actually causing this issue? Well, if we go into our edit mode now, and you can actually see, I already figured out the culprit of the issue, but let me just show you from scratch. If we go into the edit mode here, then we go into here, viewpoint overlays. We can go and check if we want to see our normals from here, we can go and click like this or you can, these are your essentially display normals. This is split normals and then this one here is vertex normals. If we show where our vertex normals are pointing in, we can see that some of them are actually pointing in the opposite direction. That essentially just means that the vertices are opposite from one. Another set of vertices is actually opposite, and it's facing the wrong direction here. Even though our mesh here looks okay. This one is opposite of this one in terms of the direction that it is facing. To fix that, what we need to do simply is go and click A to select all vertices. And then we can click Shift in the letter. And that is essentially just going to reset or recalculate all our normals. And here we can actually say, well, do you want to recalculate them towards inside or outside? In this case, obviously, we want to recalculate them outside like this. Now, all of them are properly aligned in here. There we go. I don't actually even believe, if I go and look into this here, I don't remember that we even used our solidified modifier. Yeah, this doesn't have the solidified modifier at all. But you know what, Let's actually keep it. Do need to do is just set it a little bit more backwards. Let's do here. If I could go and click minus three. It's going to push the glass a little bit more backwards. And now we get this nice shape, which is what we want. Then the next thing that we want to do is I am thinking of adding a Bevel modifier here so that we can add a little bit of bevel so that we don't have such harsh edges. Later on when we're doing texturing, bevels are going to actually help us get nicer edges. Let's add a bevel modifier here. And we might also add it here as well. To add a bevel modifier here, simply go Add Modifier. Let's click here. Bevels. There we go. And then let's give it two. I think that's going to be perfect. Fine, let's go something like this. That's good. Then let's add another one over here on this big one. Let's go and click Be. Let's add two as well. This is now going to give us a little bit of there we go, I think two might even be too much, and we are getting a little bit of a shading issue happening here. We can actually hide these, now let's hide the verdict normals. There we go. We are getting a little bit of artifacts happening, certain area, which just means we need to clean it up a little bit. The more I look at it, we might actually, for now consider, let's see if we maybe add one more set, can sometimes hide it. The shading issues if we do it like this and then let's see if we decrease the amount. That might also just get us where we want over here. And then shade smooth, shade auto, smooth. One more thing also that we need to do, and I don't think we've done for the train before, is if I go and let's see something. If I go and click over here. Second, I think we might even need to go into edit mode. How do I see face orientation? That's, there we go. This one here, If we go to our face orientation overlay, well again, see that. These faces here are opposite from where it's supposed to be. I think if I do the same thing I did before, I go into the edit mode and then we go here, we can see that, yeah, these guys are pointing inward. We just need to do the same thing we did before, which is click A and then shift in to calculate them to go outside that way. Now if I go here and then uncheck this, if I leave this mode and then go here into phases, I can see how everything is blue, which is perfect. Which means this is that, That's good. Okay, let's see. One more thing now, you can actually add this as a shortcut, which is what I have currently, so I don't have to go there. You can see here, you can just go here and then re click sign shortcut or remove or add to Quick favorites. That's how I have it. Let's see what else can we do here. I am thinking that this is maybe a bit too soft for my taste. Maybe adding just one segment, if you ask me, is maybe even better like that. I'm thinking of maybe pushing this even more inside. Even here, going smaller. I do want to copy this one. Let me see, here is 0.11 and we had two here. It's 0.9 Let me see if we make it zero, It's very sharp. We don't want that because nothing is as sharp like that. Then if we make it this, let's go, I think three I guess seems to be the best option. Yeah, let's see if we can do how does this look like? If maybe a little bit more inside then we push the glass. Maybe negative four. I'm just trying to get a much stronger, harsher shadow here, trying to see how that would look like for this one. I actually don't mind sticking out. I do like the idea of it sticking out here. I don't think we should put it out. Let me just see if we put number three and then we put here number four, which is making it stick out. I guess we need to make this thicker, a negative direction, a little more like this, then push this glass a little bit more like this. Does this look better? That's the question. No, I like to push it inside. I do like it being inside more. I think this is what I'm going to go with. I'm just going to change the offset for the window, for the glass. But just for it goes a little bit like that, Maybe negative 2.3 going to hit the sweet spot. And then here we can just keep it at negative four. Yeah, I think that looks good. Okay. We've done that. We've cleaned up all our normals. Now what we can actually do is just go and add the red part. I think that should be very simple to do as a matter of fact. Yeah, let's add the red part and then what we're going to have to do next is also clean up this part. Because clean up our project view here because it's slowly getting filled and we need to name all of these things that we stay organized. Let's just go into our smooth mesh right here. Go into our right model called Z tab out of it. Then from here, we can just select almost everything from here except these two. For here, what we can do, let me see. We could push this one here. We can push this one here. We can push this one here. We can push this one. I would say like this. We could add, at this point, now, two more cuts. See, we can add one here. We can add one here. Then from there, what I could do, we can just keep it like this. And then we'll cut this out. Let's go and start selecting all of these. That all the way up to here. Select everything here, select everything. I'm just holding Shift while clicking on all of this. Okay, that seems to look good. I'm just going to go shift, scape, click. And then separate by selection, take this, push this into the train. Hide the smooth mesh. Unhide the train, go in here. Now I just need to click on this one, click on this one, and say control C modifiers. Now that we've copied our modifiers, we just need to start cleaning up this mesh. Let's just a little bit down right about there. We can make a loop cut here to make this tighter. We can add one more loop cut here to make this tighter. And we can add on to make the bottom tighter, and one here to make this tighter here. Now from here we just need to add more cuts here. Let's add one here. Realistically we don't need more. We could add one here, one here. We then we could also do this here. And then that way I believe that would work. And then also this here would work, then this here that I think that just works fine because I'm thinking, well, maybe we could just do the same trick that we did before, which is cut this one out. But then I'm looking at, okay, if we do, if we cut this, let's see if it's going to work. And then solve this. Solve that does actually seem to work. This is a, this, here is also a quad. Yeah, this does work. We can actually take the, push them closer if you want, or we can keep them here. As a matter of fact, it doesn't really matter, at least at this point. Let's just do and repeat the same process. That way we have less loop cuts and also a cleaner geometry. So I'm just going to my knife tool, we're just repeating the same technique that we did earlier inside inside, there we go. This should go here into our faces by size. And let's check less than four, that's greater than four, that's great. I think that works great, to be honest. Everything is looking good in this end. Everything looks good here. But one thing that we could do, let's just keep it for later. We could actually tell Blender which parts of this smash we wanted to bevel. And then we can tell it only to be level, maybe these parts here, and also not to be level, these internal parts. That's like something that we could potentially do. We can look into it. I just like removed for a second the Bevel modifier and now I brought it back. But yeah, I think this is all we need to do here. Now in the next part is built this here, built this this side that's missing. Then all we're left with are the wheels here, here and then the details and we'll be pretty much done with the train, honestly. Congrats if you made it so far. I appreciate you taking the time, watching this tutorial so far learning it. I hope you'll learn something by now already. And if you have any questions up until this point, or any critiques, don't hesitate to leave them any comments. All right, that'll be all for this video. We're way above the ten minute mark. But hopefully it's been a good experience for you guys so far. I know I've enjoyed it, to be honest. And I'll see you guys in the next. 18. Building the Lower Part: This part, we're going to focus on building the lower part of the train. But as I was looking into the smooth mesh that I built, I think that we can do it a little bit better for this lower part than it is now. And that's going to save us some headaches. In the very near future, what I would rather do is actually click here and delete these vertices. Then click here and start extruding downward Z12. And then three here, and then one more here. The reason why I did it this way is for a couple of reasons. One, I want to match these corners with this one here, because this one has a little bit more of an angle here. This one goes more straight down. You can even see that here, how it goes more straight down versus this one here, that has a bit more of an angle. Another reason why I did it is because later on, once we separate this object, we're going to need to tighten the corners here. This way I have an edge loop already here. Tighten the corners a little bit more. Then lastly, I would do want to match all of this here to this way. This was my reasoning is more or less why to do it that way. Now what I can do is I can take these faces again. I can click to inst them first, and then I can click to inst them around this edge. Then click, Delete Faces. Now I have this isolated flow here. Then I just need to add a bit of constrictions here. I don't even need this edge here. I can do one here, then I can do one here. What I'm going to do is add one more around here. Then from here I'm just going to go here. And with the knife to will do that. And then dissolve this edge. And dissolve this edge. Now I got this going on then I'm just going to do and repeat the same steps. I'm add one here. I'm going to add one here like this, I think. I don't need to add anymore. I can just go here, do that. I can take this, dissolve it. I can take this edge and dissolve it. I don't even think I need this. Now, let me see if I remove these edges. Let's see if I remove the vertices. Yeah, this works good, I'd say, let me just keep it for now. For now, let's just keep it. But I'd say that works pretty good. I'm going to take this now and then this corner, this edge now. And I'm just going all the way on the other side to see what's going on here. Here, I'm going to do this, I'm going down like that. Actually, I don't even need to push that down, but I do need to do here. I'm going to push this down here. I'm going to check how low is this part. I do want to push this also for later once we build the doors. But I am going to push the side a little bit more to make room for this part here. Let's see, this starts making angle right about here. That's good. It's nothing like that. And then this goes, let's say right about here. This goes right about here. Right about here, if I'm not mistaken. Here we go. Let's actually undo a few steps in that corners and then just select the faces for now first. Then inset like that and then delete these faces. And from here I'm just going to start actually organizing that way. It's much more accurate than what I was doing just earlier now is going to push all these a bit more down. This one goes right about here, like I said. This one goes somewhere around here. That's where the cornering is happening. So I'm just going to push this that way. There we go. Now from here, there's a couple of corners I need to do. I'm going to start with these ones here. To add edge loops for these corners, I need to add edge loops for these corners. This, realistically, one I don't even need, but I'm going to keep it for now Here. I need to add an edge loop here. I also need one edge loop that's going to go all the way there like that. I need one that's going to go something like this here. Okay. Now let's go and add this one here. There we go. What am I missing here? I am missing one thing to see this one goes here, that's why that goes there. Then I do want to add one here to contain this here. The way this is going to work now is I'm going, I'm going to take this one out. I'm going to take this one out. I'm going to take this so that I can contain it. This edges here is fine. I have this, I have this to contain that, this, I'm going to need to add one here, one here to contain this edge. Now the way I'm going to handle these, 3.3 here is quite similar. What I'm going to do is I'm going to go in here, I'm going to dissolve this edge, but then I'm going to collapse these ones. What I've done, let me just go. We have currently 123456. If I take these six and turn them into one, now I have four here and I just need to do this way. This is how I turn quad into tries and gone into quads. There we go. Okay. I can just take and repeat the same process right about. Here we go in here, we delete this one, we get rid of this edge that has these two. Now what we have is 123456. We take this collapse, you can also merge it. That also works. You can click Merge at center. Here we have only one. I just go in collapse, edge, collapse, collapse. I keep collapsing it up until I get actually all the way to here. I can just collapse all of these because we don't have any cornering happening on this side. I can push this like that. Let me see, this goes all the way there. We do need that, That's fine. I could add one more cut that goes all the way to tighten this part up, but we'll just leave it as is for now. We're going to probably have to do some cutting here once we isolate and separate this part. I would say this now is okay to start getting separated. Let me just see, fail to solve this edge. Yeah, that leaves me with a ad here, gone 12345, which is not good. Then if I connect to solve, that leaves me still that I can just maybe, what if I solve all of this like that? Then from here I just combine this to here. That's going to give me one cut here to be able to control this. And then it's going to give me one cut here to be able to control that, which is what I want. I'll be able to do the same. But then I have the issue of this one here being solo. To handle this one being solo here, I do need to add one more here and then join them. I guess two might be enough. We might not even need to go to three. Let's add 34 now, actually. And then just repeat the steps here. Collapse, solve. There we go. I think this is better than what we had before. Now let's select everything that we need here. This, I'm just holding. My mouse while in the box select mode. And you can toggle the modes in the I'm just selecting holding shift, going here, selecting everything here, selecting everything all the way here. Selecting all of these parts. And then selecting all of these parts. And this parts here, there we go. Now from here I'm just going to go x and collapse, and x shift my bed, then escape separate by selection. Take the smooth mesh here, put it into the train, and then hide this. Now, here we go. Here we are. What we just created. Almost everything looks good. The only thing we need to worry now is cornering these parts here around the door. To be honest, everything else seems to be working fine. This one is going to be very easy to corner, as you can see. And then we just need to add one here at the top, here on the side that was easy cornering. This one here, this one here. Then we can just add one here at the very top. Let's see how far this one goes, all the way there. That's exactly what we wanted for this one here. I might need to go and do this. Actually, I'm just going to go like this and cut it manually. Then I'm just going to dissolve these into one, that way I have that. This, there we go, I have that, and here, let's see, I do want to push this, maybe like that. So we have this, let me see. Okay, something like that is fine. I think we need to add one more here. If I'm looking at it correctly, we have that, then we have this. If I push this one, do the old trick, I'm not sure this is going to work in this instance. Yeah, let's just go back. Yeah, let's just keep this as is. I think that's fine. This part is also fine. We do need to push this one here to tighten this gap to add one more. And then here we need to add one more. I think that, that about does it. We can make this line up better, Z. Now I can click click on this control Copy modifier. And we do have, I think, a renegade something here. We might have pushed this one a bit too far. Yeah, we pushed a little bit too far based on the smooth mesh. If you want to keep it where it is, if you want to keep it as it is here, what you can do is just go into the smooth mesh and push this a little bit core. Now this is going to help us do that. Have one edge here that we don't need this. Yeah, that was weird. Okay. Now what we can do is we can actually go and check in terms if everything is all right with this topology that we have to do that quite simple. Let's just go into, let's clean this part up. Before we do that, let's just do this push back. I do want to push this a little bit more here. More matches to that, and then I want to push this more inside, it matches that. That's good. Yep, that's good. Yeah, let's check our topology here. Now, in terms if we only have quads and there's no en goons going on, I'm going to go faces by sides. I think everything gets selected. If I go less than four, we do have something going on. Let me see. Faces by sides, less than four. Okay. Nothing gets selected then. If I go greater, then nothing is getting selected. So that's good. Yeah, I think this is going to conclude for this part of the video. If you actually want, we can do is build this side so that we're fully done. You know what? Let's do that. We have that sense of completion for today. Let's just quickly build this because this is going to take only a few clicks. We can go into our smooth mesh, We can go here into this mode. We can just go and select pretty much everything like this and then go shift separate by selection. We can push this here and then hide the smooth mesh. And let's just go and start editing this part. It's going to be very simple. We just need to take this corner here to the top, this corner here. This corner right about here. And then select everything here. Push it a little bit down, Take this one, push it a little bit up. Something like that, I think. Yeah, we just like this copy, copy modifier. Yeah, we're good. We can push this one maybe a little bit down, matches on the left side to this here, then this one can be really tight because these two are almost basically connected. This one can be like that. Yeah, there we go. 19. Reducing the Mesh Topology: The previous video. I'm going to try and keep this one short. One thing I noticed just before I ended that video is that in our smooth mesh, we have a little bit of a shading issue here. And then if we go into our train, that shading issue does also a little bit replicate here. The reason for that is once we go into a smooth mesh, we did create this extra edge loop that goes all the way here. What we can do is simply cut it by using the same technique we did before, which is we're going to add another edge cut here. Then here we're going to collapse these edges. But then this one we're going to dissolve. Now we have these quads. And then from here we can just go and lapse these edges like that, as long as that at the lower part is contained. Now we're going to be fixing this part here and the issue of the shading is gone. That's good. A couple of other things that we can also do to basically just make our lives a bit easier, clean up this mesh is, let me just check here. I do want to push this a little bit more to the side right here, Push this a little bit more here, and then push this one as a inside. I want to see how much I can push this without breaking it. It matches the door more closely in terms of relocation. Let me just go like that. Yeah, I think that's good. It's better. Another thing, okay, here we do have a little bit more distance between these two than we would like, so we can just a bit more up. So they're touching, let me just see that side. Then this can go a little bit more up. We can tend this corner up as well, and we can do the same here. Ten, this corner up as well. There we go. Let's see, what else can we do? Another thing Yeah. I just remember is if we look at here and we can look at our amount of subdivisions, we have two levels of subdivisions. But on some areas here, we really don't need that many, we can just live with one level of subdivision. What I can do is if you go here and you go into your wire frame, you can turn this on and this is going to show us how this is going to look like if we apply the subdivision on that. What we can do now, as a matter of fact, I advise you to add this as a shortcut. You can red click here and add either quick barriers or change shortcuts. For me, it says change shortcut because I already added it as a shortcut. For me, this turns on when I press the semicolon. So if I go like this, it turns on. What I'm going to do now here is this one. I'm going to lower the subdivision by one. Here. There's really not many changes that happen. Everything looks good as it was before. Even though I lowered the level, I can increase the level as you can see and nothing changes. But what does change is if we look at here the number of faces, vertices, and everything, it gets almost doubled less. That's awesome. So here we have a sharp corner happening, and I'm not sure what that is, but I am going to definitely delete these words. I am a bit confused what this is. To be honest, I did not have that before. I don't think that's odd. Let me just clean this up. It might be happening X0x then. Just it, I'm a bit confused where this is coming from. Okay. Yeah, that was weird. Yeah. These guys are for some reason coming from there. I'm not sure what caused that. Yeah, that was weird. Sometimes weird things happen like that. That's all I can say. But yeah, here, I just want to add one loop cut here and then I'm going to do this and then push this. Now I still have this edge maintained, which is great. Looks good for this corner here. Again, I don't think we need two levels, so we can just do that. Then over here we can just add one edge. Then we can do this. I can add just one here. Let's remove it for now. Let's see now here, this part here, again, I don't think we need to. Let's just take it out and see how it's going to look like. Yeah, looks much better. And then if we compare this to this, I think this looks much better. And it works better for us. Now we're just slowly reducing the amount of phases here. We have already one, which is great for this one here. I'm going to assume we can live with one as well. Let's see if I only have one. We do lose some corners here, then I can make up for it by doing this. Let's see if we have one versus two. Now, at this point, let me see. How much difference does it make Only at these edges here. I can just go and add one more. I can just spread this a bit more evenly like that. And I think that's much better for this part here. Let's see, we currently have two levels. I think we're going to keep it because of this. If I do reduce it to one, it still works. But in the background we could even probably reduce it. But I am going to keep it at two for now. This part here, there's a bit of something happening here at the top. And I think probably has to do with one of our edge loops also going berserk. We can probably also reduce this to one, and we're good to go on that part. For this one, I think it's best to keep it at two. Let me just check. It doesn't do that much, which is quite interesting. It does enable us with the Bevel modifier. It makes it look a bit different. For now, I'm going to keep it at two. I'm not going to apply any of the modifiers though. All right? I'm going to keep That was one. That was good. That's fine. Let's just make sure this is 22 here, then for these guys, I don't think I need two. I can just go with one. What I might need to do is increase the level. Then here maybe two more segments, just so I get a bit of a Harper Horner. I'm going to keep this at one as is might take to. Let me see, versus like that. We do add a bit of extra that mentioned there, maybe we keep it as is there. I think those are we have here we have two. We did add three and that's I think necessary. Let's keep it at 31. This is two, that's fine. This is one. Let's check all our geometriagt going to click the semicolon overall. That's looking okay. It could definitely be better, naturally things can always be better, especially this part here. Seems like it. But as it is now, I think that's going to work fine for us. If you do need to lower, if your scene is getting laggy, you can lower it for sure, so be sure to do that. No, One last thing that I'm going to do is we've been getting quite a lot of stuff going on here. It's time that we keep ourselves organized and keep with our naming structure that we had. What I'm going to do here is I'm going to call this front front wood because this is the wooden part on the front. Then this is yellow bottom. Just going to call it like that from yellow bot. Then we have let's call this top then. This is, it's on the side, it's on the left angle. And I'm going to call it wood, side left wood. I'm going to call this side yellow, side yellow. There's only one yellow thing on the side. We have side left, middle front wood, side yellow. Now everything is a bit more organized and it's easier that All right. That's going to be a for this one. This one is a bit easier. We were just doing a little bit of clean up on the things. I think I missed one thing maybe here. But now that I've removed now that I've removed the subdivision surface here, I think it's less visible. That's fine. I can maybe take a quick look. Let me just see if it's worth dealing with. Yeah, it's probably coming from this part here. This would be the culprit. I would assume. What you could do is probably also just take this from here and then try to give it some distance. That can also go a long way of smoothing things out. As a matter of fact, there we go. Excellent. So this will be all for this video and I'll see you guys in the next video where we're going to start modeling the doors. And we can also do this one, because this one is obviously very easy, so we're worth something easy. And then move on to the doors and then we see how we go on from there. 20. Making the Doors: Now, one key thing I noticed when working on this door, if we look at our current reference image that we're using here. This door has an extrusion here, but then there's also something happening here. But then if I drag my artboard here that I use as my reference, if I look at this here or at the door, there is no second one. Then if I look at this image reference, there's no second extrusion inwards. It is just this side here. I'm not really sure what this part here is supposed to be, but I believe for this door, we're just going to be focusing on this image as our main reference. What I'm going to do is I'm going to put this right click, drag it, hole it somewhere here to click on this corner. Push it all the way like this. Push this one all the way like that. I'm going to put it right here in my right corner. As to use it as a reference, I'm going to scroll in a little bit more. Let me go a little bit like that. I think that's good. You'll still be able to see everything while we also have this as a reference here. All right, to start building the door first, what I'm going to do is I'm going to select all of the mesh around it like this. I'm going to go into my edit mode now. From here I'm going to click Edge Select. I'm going to click number two. I'm going to start selecting all of the edges around the doors. 123, I believe four. There we go. So if we're going into my x ray mode by pressing all Z, and I click my vertice select mode by clicking one. Everything here, everything around the door, is selected. Now, you could probably also go and build a door by just adding a plane, but this way I have the entire outline already selected and pre made for me. And also, I'll be copying all the modifiers with me as well, which is good. Now if I go and shift D like this and then separate by selection. Now if I go into my train here, I can see that I have new meshes created, specifically these four with the numbers. If I leave my Edit Mobic Licking tab, I can now go and click control J. Let me just select one more time to these guys. Here we go. 1234 control J. Now it's going to combine all the meshes into one. It's just going to join everything, which is exactly what I want. Now the only thing I need to do is worry about these parts here that aren't connected. I believe we have four in total. If I go into my tab, then I click click Merge, And then I click these two edges that are not connected, click M to merge and then go here. These two merge at center. I just merge these guys at center. There we go. Now I should have a total, I guess an even number of vertices, but I do not. That means I might have taken one extra vertice out that maybe shouldn't have. See, this part here is connected. This part here is also connected. It might just be that I took one extra vertice out, but that's fine if you have a different number of vertice here. Don't worry. We're going to go over this, we're going to clear everything up one more time. I'm going to click now A. And then then once I have this, now I have my door outlined. But you see it has like a very weird geometry. We need to now continue cleaning this up a little bit. That's because of all these extra vertices I can do here is select all these ones. Click Merge at center. Select all of these ones. Merge them at center. And now I can select these two and click J, like that. I can go over here, select all of these ones. Merge at center, select all of here, merge at center, select these two. Click J, zero, then Z, go down. Now for these ones, I am going to need to go and use the knife tool. I'm going to click K. Let just make it like this. Click. Click on this, push all the way up. Click Enter. Click one more, type, push this up, go all the way up like this. Click Enter. I can take these two, Click J, then here I can also do and click J. I believe I can add one here, as well as an edge loop. And then control also here as an edge loop. And I need to add one here as an edge loop. But there we go. Now we have all of our faces here. The next word, you're just going to start with the window. I think that's the easier part. I'm just going to click on the window, click X, and then delete the faces of the window. Click control R, and just start adding loop cuts here. Here, here we go. To add one more here. I'm going to add one more here. One more here. There we go. Now from here I just need to add more loops and more edges. Here. With my knife tool, I'm just going to cut here these corners. Now, I'm just going to remove these edges from inside that I do not need. There we go. I'm, let me just select all of this here. Push this a little bit more upwards because I want to condense it to this area. This part is fine. So if I now look at everything here, that's how it looks like. Okay, then here I'm going to add one more edge loop right here. The reason why I did this is because I do want to leave this space here open to control to build this handle right there later on. But now also we have this going on, which is great, because from here now we can just build out this part here as well. Once we have the window, if I go here and click Faces, and I click on this face, I click to Inset. And I just go a little bit like this. There we go. And then I click on this edge, and I click, sorry. I go into my face mode. I click on this edge while in face mode here, click on this edge, slick, this entire loop here, edge. And then I click to extrude and I go just inside like this. And I can push it, let me see, something like that is fine. I might go push it a little bit, so don't click now to push it inside. You can go and press G X, just there we go. I think that's going to be enough. But as you can see, nothing's really happening. And the reason why it's not happening is because of our modifiers, specifically the shrink wrap and but also the solidify. They're both having an effect. I'm going to take for shrink modifier, I'm not going to take it out actually. I'm just going to change the snap mode to inside. Okay, Right. This is done something now, but I'm also going to take out the solidify. There we go. I took out the solidify and I'm keeping the shrink wrap on. And now from here I'm going to add three levels of subdivision. There we go, I'm going to click here and then control R. I'm going to push this one up like this, then push this one like that. All right, now we're starting to get something, but these edges are very smooth as you can see, which is looking a bit weird. We need to go into here and do some clean up with these edges. What I'm going to do here is I'm going to click on this edge here. I'm going to add one loop cut, right, like this loop cut that goes all around it. I'm going to click scape. I'm going to click control to add bevels. If you scroll with your mouse like this up and down, you can control how many cuts in this bevel you want to add. But I'm just going to go with this first number. So times just going to scroll all the way down so I get the minimum number. I'm going to go somewhere like this. Now I'm getting a little bit of the tightening corner here. And I'm just going to do the same for this part, which is this edge right above the one that we just created, control our escape control and just push it. Let's see if I think this is enough. Let me see. I might go reverse and control z and then exit this mode just so I can now go and see how much I'm tightening it. I'm going to go something like that. There we go. Now we have this part here done. What you can also do is you can make this part also tighter. If we go into this edge and click control R like that. And then control, you can tighten also that edge and you can also push it maybe a little more outside and then click S to give it that shape. Right there. There we go. Now for the next part, let's start building out the window right here. Okay, for this. Before I even do that, what I'm going to do now, I'm just thinking of better first steps, which would be the next. Let's actually, yeah, let's focus on the thickness now to focus on the thickness of the door. And also, let's clean this up here a little bit before we add anything else, I'm just going to this more here. Let me see this one. Yeah, let's keep it as it is now because it's not going to bother us once we add thickness. I'm just going to go into edit mode. Select everything and then go and then just go like this and extrude, I think for the thickness I'm just something like that is going to be fine. Now I need to add a loop cut here for this window and then do the same step control B. And then depending on how sharp I wanted to be, I want to be really, really sharp like this. I want to do the same thing. There we go, right about here. Control, then just do this like that. Now I have this door. There we go. There we go, we have this. What I can do next is I can take this and push it a little bit more inside X. Somewhere like this is going to be fine, but we do need to add some extra thickness on Solidify for these objects. To do that, I'm just going to go here into Solidify and here to 0.03 Let me see, 0.03 looks to be a good number for my situation for thickness. I'm just going to add 0.03 here. I'm going to go add 0.03 Then let me see, do I need to add anywhere else 0.03 here to a solid 0.03 There we go. Now for this, there's a bit of a shading issue. And the reason why this is happening is partially because of this, but also, I believe, because of our shrink wrap modifier. Because if I go like this and start moving it, you can see at the bottom what's going on there. I'm just having it here. I try to contain that by doing this. Let me see if that's going to help. It did help a little bit, but not too much. I'm going to keep this as it is for now. Let me see if I select all of these edges right here, then try to push them inside a little bit. I might be able to fix it. There we go, that's a bit cleaner. Now, you could try to maybe also play with the offset. That's one alternative. But again, depending on, I think I think you can go to 0.02 I am getting a bit of a better offset. There we go. This tends to work in my case where it might be a little bit different. Perfect. Now let me just add the windows here. To add the windows, I'm going to add a cut here. I'm going to go to separate this cut by selection. Click on this. Now the new one that I just created here to make sure that I'm in edit mode for it, Click a right click. Click F. There we go. I can join the two. There we go. Now for the window, I don't think we see have subdivision perfect. I think we don't need that much. But one thing I did forget to build, which is not actually the window, is the window rims. Let me see. What I could do is actually just take this x, dissolve this face, and then just a loop cut here, add a loop cut here, add one here, add one here, add one there. Now I'm just fixing up, owing to my mistake, adding a cut here there. Here's then adding a loop cuttle here. Then there, dissolving this edge. Dissolving these edges right here. Dissolving this, dissolving that. Now I get this part that I wanted. I can push this a little bit more inward. This part a little bit more here, to the left. This one a bit more to the right. Okay, now the thing that this part is missing is the solidify. Ironically, if I click on this one, now I can just add a Solidify. I'm going to click on this one, then I'm going to click on this part here on the right. I'm going to click Control C. And then modifiers and I copied all the modifiers, but you're noticing that it has actually pushed it outside. Why is that? Well, if we go into our edit mode, if we click here and we let's use Display Split normals, we can see that the split normals are pushing outside here, in this situation for this one here. But if I click, for instance, on here and click the tab, we can see that there, these are pushing outside, and then these guys are pushing inside. Essentially what this indicates is that our normals are inverted. If I click here, you can see our normals are inside, where in fact, they should be pushing outside. Let's just select all of this and let's go A and then shift N. That's just going to recalculate our normals. If you see now this is now pushing outside as well as everything. It should be. There we go. Now from here, I think we just need to set up the offset. I'm going to try minus five and see how that looks. Maybe that's a bit too much. I might go with even lower, a higher. Technically, mathematically speaking, I think minus four. I think minus four hits the perfect sweet spot that I'm looking for. There we go. I might even go a bit more just because to match it with these outer windows. Minus three maybe. Yeah, let's go minus three. In my case, I'm going to go minus three here. And then I'm just going to click Click Tab. And then just use this to make the window as well. I'm just going to go so separate by selection like that, I'm going to click on the new one. For this one I'm going to take out the Solidify modifier. I'm going to take out the Bevel modifier as well. I don't need the Bevel modifier, then this is the new one that I created. I'm going to click a. There we go. And I'm going to, let me see, this is the one that I created. I still want to take out a few more things actually, now that I look at it, we don't need solve these edges. Edges. I can take out these vertices here. I can take out the vertices that are here. I can take out the vertices that are here. I just need the four of these guys like that. Actually, I just need this part here. Then I'm going to go three and then grid bill, there we go. Now I have my window, but I think I have the same issue I had earlier with the window or it just might be because of the solidify, if I think about it. Let me just try this. Control copy modifiers. Yeah, I think it might be again a V normal issue. If we go tab here, normal. Yep, they're pushing inside shift end to recalculate. There we go. For this one, I'm going to use thickness of 0.01 because I think these guys are also using 0.01 There we go. I'm going to add minus four might need to go more. Let's see, Minus eight? Minus nine? I think minus nine might work for me. I'm going to take out the Bevel modifier though. I don't need that one. Or the windows, I think that looks good right about there. That looks good. Now, for these ones, we can see that these ones a bit softer. And I think that's because of the bevel modifier. So if we take out, the bevel modifier is going to look much better, but we still are going to want to have a Bevel there. We're going to play around with the amount of the bevel maybe a bit later on to see what a good number is. Another thing is that we get this weird beating here. If I go maybe into the geometry harden normals, I think that's exactly what we need to do. We need to have the hard normal selected. That's just going to make this corners much, much better. We're going to probably be doing that final clean up right? Once we're done with doors, let's just, let's now focus here and add the handle that needs to go here. I'm going to hide these normals. There we go. For this handle is going to be pretty easy. I'm just going to go int like this. I'm going to push these guys a bit closer. Push these guys a bit closer. I might even make it a bit more tighter, something like that. Yeah, this is going to be perfectly fine. I'm going to extrude inside, I'm going to push it. Let's see. It's a good amount, this is maybe too much to push it. Let me see something like that. The control control here, I think this is still way too much. I might just go select all of this here, and then select all of this here. Then click Y to tighten it up. Something like that. And then X to not make it much. And then I'm just going to push it a bit like the reason why this is happening is again because of our solidify. If we push it a bit more inside there, we're getting that which is what we need. I'm going to push it a little bit more inside now. We need to add a loop that goes right here. We need to add one more loop that goes right there. All right, let's just push these two a bit more up. Put them a little bit more down, we get rid of that weird shading issue. These guys a little bit more like this. There we go. Now we want to also contain this weird shading. We can just control R. And then this inside that, I think this is again happening because of the shrink wrap modifier. So we might need to modify this a little bit more, depending on how I want it to look like something like this. I might need to rotate it a little bit as well. I'm holding shift now. There we go. That's looking good for this part of the door. Let me see how we have everything here. Everything here is good. Excellent. Okay, for this part now of the door, we just need to take these three parts and then duplicate, shift the Y and then just push them here. That now we're just going to need to manipulate the door a little bit to bit it all here. I'm going to go all push this one a little bit more here. Push this a little bit more here, a little bit more here. Push everything here, a little bit more like that here. I'm going to need to push it a little bit more up here. I'm going to need to push it a little bit more like that here. I think this side I'm going to need to push a little more like that, a little bit more like that. I think there's a little bit more of the bottom part. I need to clean up. There we go. That's about it. We got the door. We can now just make sure that our doors are named correctly. I that's about it for this part. All right guys, I'll see you in the next video. We are we going to be starting to build the rails, these things that go around and we're also going to be finishing up this part here. 21. Adding Rails Using Curves: To build out the rails that we see in here and also the ones that are over here here as well. We're going to be utilizing bezier curves on top of these bezier curves. We're going to be also utilizing a view that we haven't really used before. I'll show you once we add the Bezier curves. To start off, it's going to be fairly easy. We go shift a and then go here under Curve and click Bezier Mediately, we see a little Bezier curve here. If you've worked, let's say in Photoshop or Illustrator, that you might be familiar with this concept where you have the curves and you basically have to move it like a pen tool, more or less. If you're completely new to this, don't worry, it should be fairly easy. A couple of things to keep in mind before we begin is you can see as we created the Bezier curve, we have also the origin point here in the middle. But if I press on the Bezier curve like this and go around, you can see that the origin point moves with it. Now, in our case, we don't really want that. I'll explain in a second why I'm going to press control Z to undo this. While I have now the Bezier Curve still selected, I'm going to go into the edit mode. While in edit mode I can now move left and right wherever I want. When pressing G, you can see that my origin point stays the same around the three D cursor. And that's exactly what I want from here. I'm going to go Z. Push it a little bit up here so I can see it. And then y zero it out so I have a very straight line as you can see. Okay, from here I'm going to make this side click on this point in the middle. Make it slightly smaller. Click here, make it slightly smaller. If you click on an individual point and press, you can move it like this. If you click here, you can move it like this. If you click here and press it increases, pressing R is going to rotate it as you can see like that. Y straightforward and pretty simple. From here, we actually want to add a mirror modifier to go on this left side so that we don't have to do two times the work. That's why also we wanted to keep our origin point here in the center so that when we add the mirror modifier, it is going to be based in it, off of that origin point, so everything is going to be centered, while in the top B. What you can do is press and then go X. Try to match up these two points to this one here. To be similar to this, it doesn't have to be exactly accurate, but just close. Something like this is going to work fine. G, Y, Put it here like this. And let's add a mirror modifier that into the meter myrifier. We can go under clipping. Now once we have them closer, they should all become one. Let's also go into our data here, so we can see better in the depth. Let's increase our depth to say something like 0.17, something like this. Here you can see that they're not yet fully connected x and now we have them basically being one perfect because of our clipping from here. Now really it becomes a matter of adjusting it. If you go into a front view, we can push this and go down, but then moving along views all the time might be a little bit annoying. If you go like this and then this, and then again left and so on. Instead of doing that, what you can do is press control Alt. And this is going to create, I'm not even sure what this is called, but you're going to get all of your orthographic views plus your perspective. This just helps a little bit better If I lied, what I want to see, I want to be able to see this corner here. I want to be able to see this roughly around here and here. I want to zoom in a bit like this. Then over here, I can start to adjust pressing this here, then slowly moving it to this point. I can then go into this view here. Push this slowly up to here. I can see how it's doing. So I need to R Z, rotated in the Z axis. I don't even need to press Z while my mouses over here, because it's immediately rotating in the Z axis as it's using the top orthographic view over here. I can maybe X. Let's see, that's not going to do it over here. We just need to rotate this a little bit more within the y axis like this, as you can see in here here. I'm going to go and increase this part a little bit over here. I'm going to decrease this slightly, push it more in here. And then let's see how everything is looking from around here. All right, this looks not bad. For starters, we might need to do some slight adjustments a bit later. But for now, think this is doing pretty good job. I might push this just a little bit more like this in front then also, if you want one more other thing, I just see how this looks from here. It looks pretty good. I might push it maybe a little bit more. What you can do is press instead of R, Z, R, Y, and so on, you can press R R twice. To get complete control over the rotation depending on how you move the mouse. It takes a little second to get used to it, but once you do it can be really in handy. I think this here is good enough for now. Now, from this point here, I want to create another one that goes here. You can do it two ways. Either you can press to extrude and then go like that. Or by the way, once you do this and let's say you press escape. Let me see. Once I like to extrude and then press Escape, you notice that it still stays here. Be sure to undo it. Control Z like that. The alternative, instead of extruding, you can just press control and then right click and it's going to immediately create another point connected from here. Now we need to make it smaller, but we don't want to make smaller both sides here. We only want to make this one here in order to work on this angle from here. I can make make this a little bit more like that. Play around with the rotation, make this angle a little bit tighter around here. Let's see how this is looking. All right? It's not great, not terrible. It is usable here. I'm going to go RR one more time. Let me see R R one more time to try to get this a little bit better. Let's take a look in here. We want this to be fairly straight, something like that. Let's push this one maybe a little bit more inside, like this. With this going a little bit more like that and then going a bit more like that. Let's take a look. So we can see that there's definitely way too much of this going inside versus over here here. We might even push it a bit more, let's see. Like this. And then give it a bit more rotation maybe here as well. A bit more rotation to first even it out again, this is going to require a lot of back and forth is just the way these things are and how they work over here. We want to push this a little bit more here. I'm going to press RR twice to try to mess around with it, until I guess something that works the way I want it. I'm slowly getting there. It's not there yet fully, but it's getting me closer. I think this looks fairly okay. For starters, in order to save time, I do recommend playing around with it in your free time as well. Now, once I finish all of this, we're going to do like a quick round of clean up. All right, but once we have this now part here created, we can go into our right view as we have it also in here. Then we can just click control, right click, all the way up to here. Just like that, press this. Let's just make sure everything goes nice and smooth. We might need to go into our right view and then just check how everything here is looking. Because this part here might need a little bit more finessing. That then from here you can go a little bit of rotation like this. Let's see how this is looking over here. This looks fairly okay. As I said, I recommend later on trying to fix it if necessary. Over here we go. Let's see here. We can't really see it that much, so we just need to rely on this part here and this part here. I'm going to go press Control, right click, just like that. Then here in the top of you, we're just going to mess around this corner. And this, I think this is going to be fairly simple. Maybe I want to push this one now. A little bit more like that. A little bit more that, something like this. Then from here I can just go and right click that. They're now connected into one. There we go. Like I said, I recommend doing a final clean up after you finish adding all of them For now, Instead of trying to make it perfect, I want to focus on adding all of them so that you don't waste too much time watching this video. All right, we have the first one here up front. From here, I'm going to now select this point, only this one here. And let's see, shift D. This, Y, let me just y, z, move it like that. There we go. Now Y, move it here in front, I have it roughly around here. Let me just move this part here so I can see better. Let me move this part here so I can see better here as well, like that. And now here I'm going to press control and right clip, there we go. I'm going to push this one slightly here, R mess around with it until I get a look that works good for me. For starters, something like this. It's pretty decent from first try almost just messing around here. There we go. I'm going to press control right click to go into here. But then now again, I need to just play around with this so that I can adjust it to be a bit better. This looks fairly good. First try something like that over here. Let me rotate this. Maybe I even a little bit more here. This one a little bit more like this. And this one like that. And then add another one in here. Control, right click. Now I just mess around with these two parts. There we go. And then from here we just want to go to the door like this that see how this is looking. All right. Looks pretty good. Acceptable. Definitely needs a little bit of improvement. But now I'd say it's pretty good. Let's go here. Do shift the one more time, get over here and then go Control right click. We can push this one all the way up to here. Do this. One more thing that we can do here while also add it is you can see now these ones are closed. We can go here under field caps, that way they are now closed. Maybe we want to push this one slightly a bit more inside. Maybe you want to push this one also slightly, a bit more inside like that. It's not stroting out that much, I would say just that much. That seems pretty good. Perfect. Okay, from here. Now next we can go is here like this shift. Add one more here. Let's see. Add one here and then add one here. We need to, again, clean this up. Let's go here into our front view. Let's check out what's going on. Here we go, and let's do something like this. And now we just need to close this gap. That maybe pushing this a little bit back a little bit more like this. Doing something like that. Going to maybe even the back view, let's see, like this and then trying to match it somewhere here. Control, right click. Let's connect these two guys, just like that. All right, really, we want to align it with this one that we have over top of it. Something like that. Again, you can see how this one is looking compared to this one. Now is the top to the bottom. We also want these two to be similar heights. So 00 it out, we probably want z over here as well from here. Now we can compare and do any changes and clean ups that we want. Perfect. We need to add one more, which is this one that's going to go over here to add this one. Select this one here. Shift, go like that. Then let's get it somewhere where we need it, right? Let's go here. See what's going on over here. Let's see what's going on over here. Let's see what's going on over here. We want this one to be right about here. And then go up to here like that over here. We just need to rotate it a little bit. Let's go here. We just need to go like this. But we can look and see here that we need to go a bit more inside this, let's even more inside, Let's go like that. Make this part smaller, so it's a bit more straight. I would say we can push this one also a little bit more inside like that. Then from here we just want to push another one right into here. Make this smaller. Let's take a look here. We need to push it a bit here, a bit more here, then play around with the rotation. I wanted to go into that, but we need to mess around with how it gets connected to here so we can get it a bit cleaned up, maybe. I guess something like this. But let's push it a bit more inside. Let's go here, should a bit more inside. Let's rotate this. There we go. So something like that, I think works pretty good here. We're probably going to need to do some adjustments just to make this a little better. I think we pretty much have this done, like I said, at your own time now. Feel free to do your own clean up if you want, and might do mine as well. I think I'm just going to want to rotate this a little bit more like that. It feels a bit more natural going inside of it. And then you can just adjust these guys over here as well. But this is pretty much the concept and technique that we're going to use to build this rail. I think we've done everything. Let's check this side. There we go. Everything looks pretty good. Over here at the bottom, we don't have any rails. I think this pretty much closes it for this video. I'll see you guys in the next one, Bye. 22. Cleaning Up: We've come a pretty long way since we started with just this front part of the train. Every once in a while, it's good to just step back for a second and look at things that we can improve. Look at small mistakes maybe that we've done, just try to clean up after once in a while. That's exactly what we're going to do for this video. We're just going to be doing a little bit of a clean up of a couple of things that I noticed for my project here and you might have also had similar issues. The first thing that really comes straight off here is that I need to tighten this corner up a little bit more and push it because there's a little bit of here space that's showing. I'm just going to do exactly that. I'm just going to press on this curve here in the middle, and then click to scale down like this. Then I'm just going to go y to push a little bit more inwards. And I'm just going to close it exactly like that. There we go, That's good. Then the next thing, while we're at curves, I'm going to try to align all these curves so that they fit a little bit better right here with this. Then I'm going to also push them inward a little bit more like that. I'm going to do the same here. These are very small details and depending on your camera angles that you're going to be doing for the animation, they might or might not be visible. But just for the sake of the tutorial and perfection. Somewhat perfection. I do want to nail it a little bit better. All right, so we have that part done now. Next thing I want to do is see how this front part in our reference image here is going like that. And I don't think you can notice it that much here. But if we look at here, we can see that this front yellow part goes a little bit more around than what we've done here. And I'm thinking of maybe we should try to employ a little bit of an extra of that curve. So what I was thinking was just a quick, simple fix would be to push this a little bit more outside like this. We also need to copy the modifier because we've done a little bit of changes to the modifier. So I'm just going to select this one shift, click on the other one, copy modifier. So with control C, there we go. With that, I just want to push this edge a little bit more internal. Now we see that it does a little bit of a breaking. So what we can do here is we can select on this edge and then click control and try to bevel it. And then let's see if we add a third one. I just added three bevels like this and that looks to have done the job perfectly. I do want to tighten this corner up a little bit more. Let me see if I can, if I touch this bell it's going to start breaking it. I'm just going to add another loop cut right about here to try to tighten this corner just like here. And might even do the same with this corner. I'm going to take this cut and just push right about there. I'm going to take this corner because it is pretty isolated. I'm just going to push this a little bit more down. I just got a better tightening right here. And then for this part, I might need to lower this here. I'm just going to go Z here. I have a few more corners here that I'm going to need to probably lower looking at this. Let's see what we have going on here. If it's getting a bit annoying to see these edge loops, what you can do is go into your modifier here under Solidify. You can click here on Cage. That should do the trick. Now when I'm in my edit mode. There we go. Here I'm just going to do a little bit of tweaking, messing up with this. I can't see much going on here because of this here. Also, I want to push this inside. What I'm going to do, I'm going to press G to see if I go in my right view for better precision. And I'm just going to push this a little bit more inside, just like here, not too much. Then I'm going to click Control, right click here. Then for this part I'm going to R R twice until I rotate it how I like it like this. And I'm just going to push this a little bit more up. And then this right about here, just so I cover it, I'm going to rotate this properly. Let me see how this looks here. I'm going to need to rotate this a little bit better. There we go, like that. And then I'm going to need to rotate this one a little bit better like this. And then push it inside is what I'm going to do, like this. There we go. If I want to increase this side, I'm going to click on Alt. And then then I'm just going to scale it a little bit that he does a bit of a better job covering this. Let me see. There is still a bit of a breaking going on here. Might need to, let's see, this is coming from actually this side of the train. I see. I think this is coming too much outside. I might need to do a little bit of a push here for this to go inside. Maybe a little push for this to go inside. Let's see if I put this into top view and then it a little bit more outside. Let's see, G, Y, G, yeah, GG, like this and then GG, like this. Then I'm going to need to push it, probably lower, then I'm going to need to do the same with this one, Probably lower then just push it back. Push it up just until I have something a little bit better. I'm going to need to do the same here. Just a little bit. Close this gap. What I'm actually going to do also now look at it. I'm going to give a little bit extra bump to this part here. If I go into my solidify, I might give it a little bit of extra thickness. Let me see, Thickness is coming in 0.03 But what if I give it like this? I don't like that way. If we give it a bit of an offset, let's go to zero. See how that's going to look? Then from zero I'm going to start giving it. I'm just going to go a little bit more inside. I think 0.5 is going to be fine. 0.50 0.5 or negative 0.5 Negative 0.5 And I'm going to then increase its thickness, try to match it up. So I believe if we had before three, we should add just a five here. And that should do the trick more or less. Yeah, nobody's going to see that on the inside. For me, this looks good. There we go. That looks pretty good for that part. Next on the line is, here we have these doors. And this has been a common issue in the previous video as well. We have a little bit of a shading. You can see how it's sharp here, but then it starts smoothing out. And that's mainly because of our shrink wrap. Our shrink wrap is pulling these edges to the smooth mesh. And if I move this, you can see what's happening. But once we apply and we will be applying these modifiers later on. Once we apply it, you can see that it will disappear for now. We can just keep the shrink wrap as is. But what we can do is something that we haven't done yet so far, is crease out the edges. Whenever you have a subdivision surface supply like this, what you can do is you can increase out the edges and essentially you just go into your edge mode. You select all the edges that you want. So I'm going to be selecting this outer rim edge right here, just exactly this. Here is what I want, this edge around this. And I want to go and click Shift. And as I increase, you can see that it slowly starts to crease out like that, it becomes sharper. I think for me something like this is going to be good. There we go. And we're going to do the same thing for this edge right here. If it's difficult to select things here, I think you can go and press on Cage. And that's going to make it easier to figure out which edge we're going for in this situation. We're going right about this one. If I go and press shift, we take out on cage and press shift starts scaling, we can see that that edge is being now sharpened. There we go, Perfect. We're going to do, or you could do the same step later for this door. I'm just going to do that off the video so that we can save on time here. Next. What we're going to do also in here is this part here and also these rooms I think I talked about a while ago about it. How this is a little bit too soft for my, my taste. And what I would actually like to do is control where I want this bevel to be applied. This is basically from this bevel, right? This is without the bevel, this is with the bevel. And I want to be able to control where this bevel exactly is applied. And I want it to be applied to the inside here. And I also want to tell it how much of it I want. We're here under angles. What we can do is we can just click weight. Now nothing is applied, applied, but if I go here and let me just select the edges that I want. If I select this edge, I press this arrow here, under mean bevel weight. Now I can control, because we said here, limit method weight. I can control this mean level weight. I can tell. All right, apply just a little bit, this much level I want to applied here. And then here I can go and do the same. I can say, well here I want a bit more beble, I can push it to one. Now I have these sharp corners on the outside, but soft corners on the inside, for instance. This gives us a bit more flexibility on how we want to control our Beble. I'm just going to repeat this exactly the same process for this windows here as well. Luckily, all of these windows are just one mesh. I just need to do go in here, going to the Beble, put it from angle to weight. Now all I want are these internal ones to be affected by the bevel weight. I'm just going to select all of them like that. And then go in here and then say, well, I want the mean bevel weight to be just a little bit, something like that. There we go. Now I'm just going to do the same step for this part and I'm going to do the same for the door. That's just going to be it for this video. You can do pretty much those steps on your own. And I'll see you in the next one. So that we can cut this video a little bit shorter. Under 12, 13 minutes. All right, in the next video, what we're going to be doing is we're going to be adding these details on top. And we might also be building in the same video, this part here as well, the light. So I'll see you guys there in the next video. 23. Modeling the Top Objects: Okay, so now that I've added all my Bevel weights, and you can see this by the blue edge here, all everywhere on these windows. I've added them also here on this side as you can see there. And I've added my creases here to this door, and then I did the same here. We're going to use this same technique to build these details on the top. So I'm going to start with the simpler ones which are basically these two. I mean, this one should also be pretty straightforward. The way to do this, we're going to add simply a cylinder. There we go. For this cylinder, I'm going to use ten vertices and I'm just going to click okay. I'm going to go Z and just try to match it up. I'm going to lz to this. I'm going to scale YZ. Just scale it a little bit more. I'm going to go and then something like this. There we go. Now once I'm done with this, a key important thing is that we need to apply the scale that we see here. This all needs to be one. I'm going to press control and a and set scale. Now that I've done apply the scale, we can start modeling this and improving it a little bit. It's quite simple what we need to do here, we just need to add a little bit more smoothness to this whole thing. So I'm going to add control on one level of subdivision control to two levels of subdivision. We're going to add one loop, cut right here. Let me see if I can go maybe one level back down. Then from here I'm going to select this space. I'm going to inst it and then do a little bit of that. Let's see, I'm going to do a little bit of that. Then over here I'm going to press control B. And then, let's see, yeah, I think something like this is going to work fine. Now, this is obviously much flatter. I'm going to select this Z, push it a bit lower, and then Y, increase it in that direction. We're going to need to push this lower end a bit lower, just so it goes all the way down something like this. There we go. If we want to make this tighter, where we can go is press G here, I think. Gg a bit here, but we don't have enough subdivisions, we wouldn't need to add maybe one more level or what we could do is, let's see if we add a crease, we would need to add one more level of subdivision probably to control how tight we want it for this. I'm just going to scale it down like this. You can press, make sure that you have you're medium point when you're scaling, there we go. You could probably also be an active element. Well, if it's active element it's going towards this selection instead. If you are individual origins, that would also work. But for this case, I'm going to use medium point. There we go. Now I have this. I'm just going to push it maybe a little bit more down. Let me see how it looks like. That is great. Now what I'm going to do is I'm not going to duplicate this. Instead, what I'm going to do is I'm going to make an instance of this because I know that this object is going to be exactly the same. There's no tweaking, no tinkering with it. I'm, instead of shift D, I'm going to press all D escape and then I have it selected. I do have it selected but I actually hit it accidentally. I have this cylinder selected Y. There we go. And I'm just going to push it here. Let me just go Y, align it with this here. The difference between shift D and all D is that when we press all D creates an instance of this object. You can think of this as it's a mesh here, but it's not an actual, it's an instance. Whatever I do to you can see it does the same to that element over there. These two elements are tied, linked one to another. This one is essentially an instance of this. The way I like to think of it is that this is like an alternative way to do a mirror modifier. That's how I look at it. Somebody can correct me in the terminology if I'm mistaken with that, but I just know that it doesn't create an actual actual match, just creates an instance of it. All right, we have this now we just need to do is add this over here that we're going to be using. The same technique that we did with the door and with the bebbles here. We're going to add first a cube. We're going to take this cube Y, Z, trying to align it the best that we can with this. I'm going to go into my old Z and then edit mode. I'm going to push this a bit down, push it right about here. Push this somewhere around here. Go like this. Go like that. While I have these two sides selected Y, try to push them a little bit more like this, I'm going to need to go on top of you because I need to also line this side x. I think something like this is going to be fine. I just want to make sure that all of these get inside. I'm going to even make it a little bit smaller, x, there we go. Then I'm going to make sure that the edges just the sick, these edges go all the way down. There we go. So something like this for now. And then I'm going to control a, I'm going to apply to scale, make sure everything here is one. And now I'm going to first start by adding a Bevel modifier. With this Bevel modifier, I'm going to press this, let me see, 123 levels. Something right about here is going to be think good, shade, auto, smooth. Then I'm going to also apply a subdivision surface modifier right here. Now if I go and increase this, I have control how I wanted to look on this side then let me see if I add how many here we're going to have. We're going to have, let's start with five. And then if we can lower it, we're going to lower it. What I want to do is take this side, take this side, take this edge, take this edge. Let me see. I'm going to scale them in this direction like that. All right, Now I want to make these corners sharper. What I'm going to do is I'm just going to limit this to weight instead. Now from here, I'm just going to slowly start adding weight to first everywhere. Then I'm going to decrease to certain parts that I don't. For instance, I don't need weight added here to these corners. I'm just going to decrease it. Just put it to something very small. This, if I leave this view, we can see that we're slowly starting to get this shape that we want. We just have this now in these parts. I do want it a little bit less, it's a bit sharper. Let me see if all of them select edge, this edge and this edge. All I'm going to do now is see, then maybe decrease the amount or maybe even increase the amount that I think of it. Now we're around here and I'm going to start decreasing the segments two. I think two is going to be enough. Yeah, two is definitely enough. But I also want to maybe make this part sharper and I'm going to decrease the bevel weight here. Also maybe 0.5. There we go. So I'm going to do this is constant tweaking. I'm just going to increase it on this side so it has a little bit more of that turn. I think I'm perfectly good with how this looks. Let me just see if these two should be all the same high. I don't think they are, but I am going to push this one a little bit. I think it sticks out a little bit too much for my taste, so I'm just going to do a little bit of that push. There we go. I would say maybe it's a little bit too big. What I'm going to do, actually, now that I look at I'm going to select these vertices, I'm going to scale them inside more like that. Then inside that, there we go. Yeah. I'm liking how this is turning out. I'm going to push a little bit more inside. This is just now more than my personal creative choices. Yeah, there we go. We have the top part at it and we're right at ten minute mark. In the next video, we're going to be building this light on top of here and then all that's left is the wheels and the front lights, and I think that's going to be about it. 24. Modeling the Top Light: Let's start with building out the details. The first thing I'm going to start with building out is this here. And then we're also going to be building out this part here at the front. When it comes to building out these details, what I'm going to do is I'm going to put my reference, my PRF board right here in the right corner just so I can look at it every once in a while when building these things. I'm going to go into my right view. Now to start building this off, I need to figure out what kind of shape that I have here in my mesh options best resembles this. What we have the one to go with, I found out was UV sphere, which is this one. Because the subject is a little bit further, we don't need to have this many segments. We can actually reduce it to, I would say 16. Let's go 24. Yeah, let's go like 24. There we go. Then the next thing we need to do is if we press R and then X, and then we rotate it by 90 degrees. We rotated in the X axis by 90 degrees. Then we push it a little bit more up and then try to match it up with what we have here. Say if this line matches the middle of here, and I scale it, we are slowly starting to get that shape. As a matter of fact, what we need to do though is let's just scale it down a little more. And then from here if I take this side and I go into my face select mode and select half of it and then delete those phases. Now I'm left with this. From here what I can do is press Scale and then into the Y axis and just start pushing it out. That's what I get. I can go shade smooth. Here we go. We have the first part of this right there created. Now all I need to do is start building out this metal part here. To start with the metal part, the way I'm going to approach this is quite simple. As a matter of fact, I'm just going to start with a loop cut right here in the middle. Let me see. I can maybe even push it a little bit more up here. Something like that. And then I'm going to click control to make a bevel. Then this little bevel, what I'm going to do is while I have it selected like this as a face, I loop selection in my face select. I'll then left click with my mouse. What I'm going to do now is just press to extrude, but then press to extrude inside that. Just make sure that you have either bounding box or I believe it's even going to work if you have individual origins but don't have it on active element. Because then it's going to look a bit wonky now that I've created this. I have this cut here, but it's a bit too sharp. So what I'm going to do is I'm going to press control one to add my subdivision surface. I'm going to keep it on one level here, but it looks again, a bit weird. And the reason why it looks a bit weird right now is because we have not applied the scale. We need to apply the scale. The scale, we go control a scale. There we go. Now it looks a bit better, but we still have a bit of a sharp corners going on here. To deal with this, what I'm going to do is going to my edge select mode. Press Alt on this edge to select the entire edge loop. And then control to add a small bevel. This, now I'm going to do the same right here. Control, add a small bevel. Let me see here. We need to do four, but there we have that. Perfect. Okay, now from here what I'm going to do is select this edge loop. And I'm just going to close it inside. I'm going to press, let me see if I press a little bit, does like this. A little bit of a closure which is not bad. And I'm going to press to extrude. And then now this is just me taking creative liberty on how to do this. I'm not using an exact reference, I'm just trying to assume how this potentially looks like. It almost looks like a rocket engine at this point here. But let's see from here. Now what I'm going to do is press again one more time, but this time I'm going to go into Y axis. I'm going to go inside like this. I'm going to press to start scaling it inside like that. I'm going to keep going one more time and then I'm going to go one more time. Now to close this hole, what I'm going to do is press three. Going to grid bill. There we go. I've might even want to. My hole looks a bit weird over there. That's odd. Let me just go back a couple of steps. I might have made a mistake somewhere. Here, let me see if I scale this. That's good, Y. There we go. Then let me persist a little bit more further inside, something like that. And then three face that looks better. Then here I'm going to add, I'm going to add one cut here. I have it like that. And then these sharp corners, I'm going to do the same. I'm going to add a bevel control B. Let's start with three. Let's do three here. Now we have that perfect. Now to add the lights. As you can notice, there's a little bit of a, there's definitely a bit of a curve going on here to do that. If you'd really want to do that curve, there's a way you could do it manually. I would think of would be probably just going here, make sure that you have proportional editing selected and then pressing scroll with your mouse to make it a bit smaller. Okay. Now from here I can push this out like that and then you can give me a bit of a curve if you really want to have that curve, but it's not too big. Just a little bit of a curve right there that I recreated myself. That's perfect. Now to add the light, what we're going to do, we're just going to repeat the same step, pretty much. We're going to go in here, go at a UV sphere, R x. Rotate that sphere here, scale it up until it fits in here. Something like that I think is going to be fined and Y put it, let's say something like here. Alt again, going to the tab mode, we're going to cut down around half of the faces here. We'll just make sure that you have your proportional editing turned off. We can just try to push it a bit here and then we can maybe make this a bit smaller so we match the inside of it. But this part is barely going to be visible. It is fine as is now shade auto smooth, then you can produce S Y to try to make it a bit more of a blob like that. There we go. That is more than good enough for our light. Perfect. Now we're 8 minutes in. So you know what, I'm going to cut this video in half. If you're good for today, you're done with this part. You want to make a break, go for it. And then in the next video, we're going to do this front part. And I think we're going to go and do the lights here as well at the same time. Thank you guys for watching and I'll see you in the next video. Bye. 25. Modeling the Front Lights: Before I start building this part, let me just increase the scale of this a little bit. But the thing is like if I increase the scale of this, then I need to go and increase the scale of this individually. Instead of having to do both individually, what I can do is parent them. Click on this one and then click on the one that I want to make it apparent off. And then click control and set object. Set parent to object. Now if I move this sphere, it's going to move also this part here as well. That way this one here is apparent of this one. And you can see that here because it's inside of it there. Now all I can do, all I need to do is just press, I can scale it a little bit more. Can maybe push it a little bit down. I can take this one, push it a little bit more outside. I can go control a, Apply the scale. There we go. Excellent. Now let's start building this part. To begin building this part, again, we need to figure out what mesh we have here is closest and resembling to this shape that we have. The closest that we have is obvious right here. That would be the cube, right? If I take the cube, I just scale it. All I really need to do is match it up with this shape right here as closely as possible. I can go into my edit mode, Select these vertices here, and then X, put these vertices here, put these ones here. And then from here, all I need to do is just take the cube, push it front like that, and now just slowly start matching it up, similar to what we have here. We can see that it's not actually standing straight, there's a little bit of an angle. So it is following the shape that we have here. What we can do is select this part like that, We can take this, it here. This is the shape that we are going to be going for here. Let's see how this looks like, okay? This lower part, it is barely like this. But I would say maybe we should push it a little bit more forward, just something like that. I think this works good. Let's see if we matched it front wise. I am going to maybe increase it a little bit more on the z axis. Just give it a bit more height and then lower it. Let me just see here. Might lower it just a bit more down. Bit more up. This is again the re creative liberty type of art of doing this. There we go, perfect. Then from now, if we look at it closely here, we can see that there is an inset and then an extrusion inward that is happening. And that's exactly what we're going to do. We're going to click to int, somewhere around here is going to be fine. And then click to extrude inward. But we need to be careful how much we extrude inward because we can see that we're clamping, clipping here with the train. So we might need to, then if we want to go this far deep, we need to push it a bit more outside like that. Now, the last part of what we need to do here really is to work on these corners so they're not so sharp. And at this point, you can go a couple of ways of doing it, right? Like the easiest way would simply be just select everything. Control B and then add a bevel, and then control how many loop cuts you want. Like this, I mean, this gets you pretty much right there, right? But then the issue with doing this method is that you can't really go back if you want to do any changes. It's a bit knowing maybe then better way of going about this. You could go and say, well let's add a bevel modifier instead because it's not permanent and we can control it. Gives us a bit more flexibility on how to approach all of this here. I'm just going to go shade smooth. And now let's say, well, I want these corners to be a bit more sharper right about here. Well, let's make it an angle, make it a weight. And then from here, let's first select everything. Let's add a mean bevel crease. Just a little bit like that. Now this is going to give us a starting point if we want to let say, add a bit more of a crease here, let's say something around there. We're going to add a little bit more of a crease here. Something like that. Then we want to do with these two corners, we want to do the same with two corners. Something like that. Now we have like this, but then here inside, I want to make this a bit sharper. What I'm going to do is One more time, and then one more time, there we go. And I'm going to press to extrude, I'm going to extrude it outside. We're going to press Y. Now I have a little bit of this plate happening like a back plate or something. As you can see, I can add maybe a loop cut to it just to make it a little bit sharper. Yeah, something like that is actually going to be perfect because that's where we're going to be texturing this shape. And then everything around that is going to be pretty easy. For instance, the way you would do it is you click this one here and then you glow to select. And you just go invert or control and it selects everything except this. And then we apply the texture there. Anyway, that covers this part right now. Now what we need to do next is add these things here. I thought a lot about, okay, what's the best way of doing this? And I figured the best way would be simply start off with a curve like this. Not a curve but a circle. There we go. Then from here we're going to go our x 90. Then we're going to push the circle here. We're going to scale the circle like this. Go into our front view like that, and try to match up the circle, something similar to how it is here. Scale it again. Let's see where that's going to be positioned. Yeah, this is perfectly fine from here. Now we just want to start extruding this. So we're going to press and then, let me see, do we have all of it selected? There we go. If I go into edit mode, select all the vertices and then E, Y, perfect. Now from here we just want to this right about there. This is like the starting point of this whole thing. We can see even from this perspective, it looks like it's a little bit down. We're going to be playing around with this, but this is perfectly okay. Now we're going to be doing something a little bit differently once we go into the mode and we click on these vertices in this edge loop here, we're going to use the Shear tool, which is right here. Then this Shear tool should give us, let me see the ability. There we go. If I click now, I can match this up a bit better. This and I can go here and then match this part up a bit better. This is now just me trying to tweak it so that this entrance point looks the best way possible that you can see here. Now from here, I'm going to be doing pretty much the same thing. Which is just, let's see. Taking this part, trying to make it, this is just me eyeballing things right now. Then this part here trying to make it straight, pushing it a bit backwards. We just want to give it a little bit of a space. I'm just now tweaking, going back and forth between my different view modes and trying to get just about something, something like this. Yeah, just about something like this. I'm going to go out of smooth, apply the scale now from here, well, we can even push it a little bit more inside. Because I just want to do this first part that we have here, this is just the first part here that we need to have. There we go from here. When I have that, I'm going to press W to go into my box select mode. I'm going to press to scale inside. And then again to scale inside. I'm going to press now. And then y to scale that I'm going to press and then scale inside. One more time I'm going to go and then y, I'm going to scale outside. This time I'm going to press a little bit that now let me try it out of this to make a regular one regular circle. The way that's going to go, I'm going to go again into my shear tool. I'm going to start this a little bit more out, pushing this, trying to make it match, proper circle. I think this does the job. Yeah, I'm going to go, I'm going to push this a little bit more here, there we go. Now we're building this first ring which goes like that. I'm going to press extrude. To extrude inside just a little bit. Then again, let me see from here we're going and then y, extrude one more time here. And then like that. This is the second part that we're building right here. Then we might even want to. This is the first ring now this is going to be the second one that we're building. Let's scale this. Maybe something like that. Something like, let's see how this is looking. Yeah, that looks good. Let's go like this. Let's go like that. Might want to go in here, like this edge and then just scale a little bit more up. Let's see, yeah, there we go. Something like that. Even better. I'm I'm going to actually later apply the subdivision for now. I'm going to keep it as is, but then now here I'm going to go like that. I think it has like a little bit of a, there's something going on here also. I think I know how to do it. I'm just going to go like this then bevel it once, but I'm going to try to, let's go like this scale, this, bevel it here and then I'm going to, I have this selected. I'm just going to go inside, there we go. Something like that. And then from here I'm going to scale it here. Scale it inside. Close it up a little bit. There was an issue right there, y. So we can do y. There we go. Scale it there, close it like this. Keep scaling, keep closing. I think from here we can just, let's see, we could just do like an F three grade fill. There we go. Now, before we even add a subdivision, so that we smooth out all these edges, let's start adding our loop cuts here. Definitely is going to go to, this is going to be beveled out a bit, three levels, this is going to beveled out a bit for sure. This is going to be beveled out for sure. This here is going to have a bevel, then this here is going to have some bevel. This might also have a bevels. Apply the scale control one, and there we go. Now there's definitely something wonky happening here that has to do with how this part was done. Let me see control plus, no, that's not going to work. If we do this probably has to do with the amount of basis we started off with. If I just take these pass out, let me see this S, let's just scale it more inside like that. Then let's add one also here then for here we just minimize it a bit. Let me see how many we have here. Vertices selected? The hell do we get a try to faces vertices 32 net, press F three grid. Phil, I was thinking maybe if we do it, this one goes to one, this one goes to this one. Yeah, this is where you get the triangle. Because of that. That's fine. Yeah, here we have that. Perfect. Now we just need to add the light inside. To add the light, we can, this is a bit of an inside, but we can probably go maybe duplicate this. Then we need to parent it off of it, so we can press all to clear this parent. Then now we just go into our front view, held down and then just try to match it up with this, let's rotate it front. Something can make it even flatter. There we go. I think that's going to do the trick. I'm just going to rotate a little bit. Realistically, we don't need this many, we don't need many bases and vertices. But now let's keep it. If our scene starts to lag a little bit later, we can take it out. Then lastly, what you can do is let's just parent this to control object. Now we just a mirror modifier that we need to go and control a ptrsfmow. We might need to add a mirror modifier to this as well. Unfortunately, let's add a mirror modifier to this as well. Let's see. Control a Altransforms. There we have it, perfect. 26. Modeling the Front Connectors: Let us now quickly build this front part here. The only issue though is that I don't have any good reference image. And right over here is it's a little bit cut off. I'm going to use this back part because I'm going to assume that it is similar. And I'm also going to obviously do a little bit of creative liberty to say and to do things how I would interpret them. To actually build this, it's going to be pretty straightforward. We're going to be using the same techniques that we did using this. The way I'm going to start off is simply by adding a circle and then r x 90. All right, then from my front view to two. There we go. I'm just going to try to match it up, let's see, to something. I guess over here, this is, that's like words going to go. The only thing is obviously, let's see, okay, let me push it here. Yeah, this is like where it's going to go. The only thing is that it's not going to be this big. At least not from the started point. I'm going to do a little bit of reverse engineering. Here is what I'm going to do. I'm going to select everything. I'm going to go and then y extrude to this side. Now from here I'm Z. To try to push it, maybe a little bit more down, I'm going to do y, let's see. Push it like this, then take this side, do this. Then from here, what I'm going to do, let me, let me just see how this looks like. Yeah, it's pretty good. I would say from here I'm just going to use the shear tool again and then this, a bit like that. Let me just go here in the top mode. There we go. Then we're here. This is going to be my starting point. From here I'm going to go, I'm going to extrude inside. Scale it a little bit and then scale that inside the Y, Y. That's weird. Let's see, there's a duplicate here that I need to dissolve. Let me see now. Yeah, I need to delete these vertices. Okay, there we go. That's what I need. Then Y, I just want to push this, scale it a little bit more like that. Do something like that, and then scale, make it smaller like this. Now from here, all I'm going to do is Y, let's say, how far is this going to be going? Let me see if I can get an idea. Not too far. I guess. I think this is maybe a little more, it definitely needs to go more than here because it shouldn't be getting. If that's the point of this is like to connect, I'm going to eyeball it roughly here. From here I'm going to go, let's see if I select all of this S Y and then I do zero. Yeah, I zero this out. Now from here, that's just going to do the job for me from here. Now I'm going to make this smaller, like this. Yeah, I think that's good. I'm push it inside like this and I'll push it outside. And then from here, I'm just going to like scale a little bit. Let's see. Okay, this is, this part is the one want I build now. Let's see. Do, let's see. Y, E, S, Y, nope. I want to push this again. Here, back here. There we go. And then, there we go. That's what I wanted. And then like that, I just need to make it smaller. Something like this. Then again. S. Extruded inside the Y inward a little bit S one more time, then E Y to go outside. And then this is going to be the final part. This is, this right here. Let's see. How big do we want to be? Well, let's actually now use this as a reference. We want this to be definitely bigger than that. Something like this. I think maybe too much. I think this is maybe too much. So maybe like this, this is fine. Then from here, there we go. We're going to do here a little bit like Y, S, just like that. And then from here you can select three grid fill. There we go, Perfect. Now again, we can go shade smooth. Now we just need to add, let's see, one level of subdivision going to be enough I think, but we're going to definitely add some edge loops, some bevels. I'm going to start by adding a bevel right about here. I'm going to add one also, right about here. I'm going to add one right about here. Might even make this one a bit bigger. Let's see what else we can add one loop cut right about there. I might even considering all of this here a bit more. So I'm going to press here and can control plus a couple of times just to push it a bit more outside. Y control minus and then y. There we go. Push just a little bit, just get like this subtle. Let's see what else here. Definitely one cut the inside. We can do one even though it's not that visible. Let's go like that. And let's add one here. Let's add one here as well. All these corners are actually the reason why these bevels are also really important is this is going to help us with the realism, especially when we do the shadows. The way the light hits and reflects and bounces off is going to be really important to help us nail down that realism. And let's go scale, there we go. Let's also apply all transforms. The origin point goes to the three cursor so that now when I add a mirror modifier, it goes right there, perfect. There we go. We have now this I believe the only thing that's remaining now for the train are the wheels. Once we're done with that, once we're done with the wheels, our train is pretty much completed. There is this one part that I didn't notice like here, I don't think we're going to be building that just because I don't have enough information. Because for instance here, you don't even see it here. You can see there's something going on here, but I also think the waves are going to be covering that. It's just needless work at this point. And then a lot of these reference images, I couldn't, I wasn't able to find it for now. We're not going to be building that part, we're just going to be keeping it like this. In the next video, we're simply going to add the wheel part here. Perfect. Which is here. All right guys. They'll be all F this one. And I'll see you in the next video. 27. Modeling the Wheels: Pretty sure this is going to be the last thing that we need to model for our train. That is this set of wheels here with this little gizmo in the middle. I've looked at a couple of reference images also from real life trains. And looking at this, I just think that this is way, is just way too much detail and way too much work for something that is barely going to be visible in our instance, mainly because the water, as you can see here in this image, the water is going to be covering it. Instead of having to focus on too much on that, we're just going to be creating something that resembles the basic shape of what we have going on here. To begin with that, quite simply, all we need is a plane. We're going to take this plane, we're going to rotate it in the Y axis by 90 degrees. We're going to go into my right view, and I'm going to scale that plane, somewhere around here, something like this. And I just want to get like the basic proportions of how this is supposed to look like. And I'm going to go S, Y, I'm going to say somewhere here. And then Z, somewhere like that. For me, this is going to be the basic shape that we're going to be starting off. I'm going to apply the scale. Then what I'm going to do is I'm just going to cut this in half by adding control R and then leading this side I can use the modifier and speed up my work instead of having to deal with only one side this time. So far we used the modifier on the X axis. I believe this is the first time that we're going to be using it on the Y. Now, I'm just going to take out the X axis. For now, I'm going to enable the clipping here. Now we have the modifier on the Y axis here. The next one thing I'm going to do is, let me see. We have this part here. Extends, Goes from here, but it extends. I'm going to add a loop cut here. And I'm going to separate that loop cut into two parts like this. And I'm going to just extrude this side in the Y axis like this. Here, there we go. This is actually going to be the beginning of my mesh. I'm going to then go here. I'm going to add another loop cut, and I'm going to cut out this face so that I can get this shape here for the whole. I'm going to add one more loop cut right here, so I can push this loop cut right there. This is what gives me the basic primitive shape that we're going to need just to get started with this. From here, I can add a subdivision surface modifier. I can press control one. Let's go control two for now. But I don't think we're going to need that many subdivisions to be honest here. I just need to actually tighten up all of these corners. I'm going to start off with the easiest one, which is this here. Then I'm going to add another one right about here. I'm going to add one more right here. I'm going to add one more right here. I'm going to do one more here. Let's see, one more here, and then one more here. I'm going to add one more here. For now, I need to add one more here. And to tighten this part up, I'm going to need to add one more here. One more here. Let's see what else we need. One here, here. Then I can go and do this. There we go. That does that for me, exactly what I wanted from here. What I can do, I'll go like this, Add one more corner right about here. The easiest thing to clean up right about now, I would say the first thing that I would clean up is I'll just take out this edge. Because we have way too many edge loops right now going on. I'm going to take out this edge and then collapse this part here. So that I have a quad going on right here. So I can take, maybe this part, put it something like that, Y zero. Take this part, put it right here. Y zero. There we go. I'm just going to go collapse all of these edges. That is immediately already starting to clean up my scene a little bit. Now I need to deal with this part and this part here also. I'm going to deal with this part for here. What I'm going to do is I'm just going to go like that here. I'm going to go this. And then I can just take out this edge, dissolve this one. I can dissolve, I think this one here. There we go. And I can do the same. I can dissolve two. I think I dissolved the wrong one here. Because here, let me see. Let's take a few steps back. I did dissolve that one. Dissolve that. Think, let's see if I dissolve this edge right here. This edge, this edge, and this edge. That gives me, I think, what I need exactly I'm going to do. Check afterwards. Here, I'm going to dissolve this here, which is what I need. And then from here I'm going to just dissolve this here. There we go. I think that gives me basics of what I need. I can probably take this there. Okay, let's do a quick check up and see if all, if we have maybe any triangles going on. I'm going to go into select all by trait faces equal to four. Let's see, less than four. Greater than four looks like we are doing okay. That's good. Okay, is there anything else that we can cut that we don't need? We could cut this out. It looks like it, but then this gives us this issue. If I cut this one out, that cuts that corner. I think we need everything that's going on around here and we can do this, which might also be important a bit later. Everything that, I think this is a good starting point, we're not a starting point, we're are like halfway done, to be honest. But what we're going to do now from here is simply, let's add a Solidify modifier to, there we go, Solidify. Let's just a little bit more for the thickness. I'm going to hold Shift, click here and then a little bit more to get like 1015. I think that's good. I shade smooth, I'm going to apply my scale so I can get this. I'm going to also add a Bevel modifier. Let me also go into the bevels bullion, but bevel, there we go for this, I think three levels, there we go for shading, I'm going to put hard normals, that's perfect. I might go into my subdivision because I don't want to have two levels. That's just going to be too much, it's unnecessary, maybe even bevel let's see if we control the amount. Is it going to make any difference if we make it smaller? Nope, let's just keep this like that. Okay, this is fine. Good. From here I want to do is add a inset right here because that's going to be for this part over here. I'm going to do an add an inset. I'm going to make it closely resemble like a perfect square, I believe. Now this is going to be the first time that we use the Loop tools, which we haven't used yet, which is the add on that we installed initially. Ifly, here on the Loop tools, I'm going to go here in circle, and that's just going to make this look like a circle, better. If I delete these faces, now I have an perfect circle going on right here, which is great. Okay, let's see. I think that actually is everything that we need from here, which is great. Let's continue now with adding other things that we need. These guys, I'm just going to use basic squares. Basic cubes. Sorry for that. I'm just going to use a cube and put it something like there while we were added. We might as well select both of them and then just push them in x axis right here. Let's see, G, x one more time just so I can see them better. I can rotate a bit around them better. All of that, I'm just going to push them somewhere here. That's good. Put it here, X something like that. Y something like that. Let's see how this looks in terms of the size. I'm going to push one more like here, Y. Yeah, that's good. Perfect. I'm going to add a bevel modifier just to help a little bit more with the shading. I'm going to apply the scale. And then here again on the amount I'm going to hold shift and then click with my mouse. And then oil towards left side. That gives me a little bit more of control in terms of the increments and precision. Honestly, this is more than enough. If I really want to, I can add one more level, that's pretty good. I can do here, harden normals, maybe we can add the amount, make it a bit more roundish, but this really gives us what we need. Then from here what I'm going to do is I'm just going to press D and then Y, Then I'm going to press shift R to, there we go. Repeat that step. Now all we have are just instances of this object here that are created. And that's, that's good. Then let's see what else, what else would need? We need two of these rods going up to do that. We're just going to take this one. We can actually, let's see, duplicate this one shift, put it here behind push up. We can maybe make it a bit thinner so that they don't fully match up. Apply the scale, we can maybe offset it a little bit to this side. I'm going to do all D, G, Y, offset this one a little bit to this side. I can make them a bit closer to here. Something like that. There we go. Should we make these ones a bit thicker? Let's just make them a little bit thicker Y, they don't need to be evenly, that's good. Now lastly, it's the wheels themselves. For the wheels, we're going to go shift A and go into circle R, Y 90, scale them. I made sure also to use like I think ten vertices. So let me just step a few steps back so you can take a look. If I go shift a circle, you see the vertices is around ten because we don't need that much detail going on here, because this is going to be barely visible somewhere around here. There we go. I just need to now match up the origin point closely to the center as possible. This will do the trick. I'm going to go and tab edit mode. Select all the vertices and then press, I'm going to press to inst. I'm going to inset it roughly around here. I'm going to press to extrude. I'm going to extrude inside like this. This is going to be this part here. I'm going to add one loop cut right here. I'm going to add one right here. I'm going to add one more inset right about there. And then one more, right about here. I'm going to delete this face now for here, I'm just going to use three T fill this. We already added a couple of edge loops here so that we can contain this. Once we add the subdivision surface modifier, that's the goal. So we're just trying to speed through this, to be honest. And then X. To do this I'm going to add two more right here. I'm going to press and then add that. Then here I'm, let's see so I can see better what's going on. There we go. I'm going to press, I'm going to push it roughly here. I'm going to push one more somewhere here. I'm going to press three grid, Phil, that's good. If now press control one. Control two, we should be getting something like this which is a pretty good shade, auto, smooth, apply scale. I'm going to go here and add one more. One more bevel, and I'm going to here. I'm just going to add, let's see, one more. Maybe, there we go. We have our wheel ready to go. Let's see the size of it. We could maybe make it a little bit smaller like that. Now we need to take this. I'm going to a G Y here. What we can do also is add another circle, R Y 90 scale, that circle. To put this in the center, there's going to be levels like this small nail thing that we have going on. Then G, x, push it here, let's go something like that. There we go. Then from here, what we need to do is, let's see, Let's press, let's go to do this. I'm going to add one loop, cut right here. I'm going to repeat the same step here, faces edge three grid, fill the drill, and then x, I'm going to make this. Then I want to go here so I can see better what's going on into my x ray mode and then some right here, and then one more time somewhere right there. And then X to do this. And I think that's going to be more than enough. Yep, that's more than enough. Kate auto, smooth control Y to add one level subdivision, add a bevel right here. Pretty much. We can add one here just so we can get this corner. But like I said, nobody's going to see this. That's defeats the point. Then to add too much detail shift D, I'll just duplicated it to put it on this side. Actually what we can do is all D and then Y, Put it there, and there we have this. Now one thing I do recommend maybe we should do is looking at this is What we could do is apply and then apply all the modifiers. And join all of this as one so that when we mirror it, it mirrors all of it together so that we don't have to mirror all these individual parts. I think they're just going to clean up the scene a little bit. Let's do that now. Let's just start applying all of our stuff that we have here. I'm going to start with applying the Semror modifier. I'm going to apply the subdivision, I'm going to apply the solidify, and I'm going to apply the bevel For this one, I'm just pressing control a while. My mouse is right here, so I'm applying bevel here. I'm applying the bevel here, Make data object. All right, I'm just applying everything now. For instance, in this instance I can control J. I can join these guys together. I can go here, I can apply then here, I can also apply here. I can apply here, I can apply here. Now, I believe, just make sure that everything is applied. If I select all of these guys now, there we go. I press control J. They are all joined as one object. If you still want to, let's say later, we might need to separate them into individual. What you can do is go into tab mode because they are still separate objects. They're not joined by vertices or anything. Let's say I wanted to separate this here, I can just press L like that, and then I can press P and then separate by selection. We can still separate this later on if we need. There's a lot of vertices going on here, a lot of edges, We can actually take some of them out. So I'm going to do a little bit of clean up. I'm going to dissolve some of these edges. I just don't think that we need this going on here. That's partly my fault for applying maybe too many levels of subdivision surface. You can do this clean up on your own as a matter of fact as well, but that's what I'm going to be doing. Maybe later on we'll be doing a clean up phase. Now once we're done with this, I'll be showing you all the stuff that I'll be doing. But for now, let us just continue with finishing all of this part up. I'm going to add this here, there we go. I'm going to press all transforms that. Now my origin point goes there because now that my origin point is there, I can just go add a mirror modifier and look at that. We have the wheels also on the other side here. Perfect. Now you might be wondering, well yeah, but it doesn't look full. Something like missing. You are correct, something is missing. What's missing is this, Let's see, what do we have here? Missing. What is missing is see these boxes here. There's a little bit of also a shadow going on here. There is something also behind it. Yeah, to deal with that, let me just first also duplicate this shift Y, Push it here. There we go. Then in this instance, what we can do, we can take these rods. I'm going to go into tab mode. Press on this rod, then I'm going to press on this one, press L on that rod. I'm select this side. A little bit more up, there we go to deal with this so it's not empty on the inside. What we're going to do is we're going to go into our bottom view, as a matter of fact, and just press at a cube. We try to match the cube, something like this. Then let's go here as y to somewhere like here. Yeah ''s Z. Make it a bit smaller. And then push that cube a little bit more up. Now, I would say the cube does its job pretty good for us. This situation, I don't think that we need to do anything more besides this. It's going to give us a little bit of that shadow also in behind it gives us a little bit of that fill, which is perfect. Now for the last part, in the next video, we're just going to be checking everything to make sure that everything is good. If there's any more room for some clean up, for some small, minor mistakes. If we can clean up some of the topology, like for instance, what we did just now here, we'll be doing that. I believe we'll also be applying all of our modifiers so that we can do like a final clean up and also duplicate the train. 28. Cleaning Up the Topology: Reach this part of the video. First of all I got to say is congrats. Because we are pretty much done with the modeling of the train. There are a few very small, tiny details left, specifically talking about this part here. But for this very video, we won't need to be doing that for now. What we're just going to be doing is cleaning up our scene, naming all that stuff here, and just checking that all of our meshes are pretty good. If there's something that can be improved, like if we go here, we can see that there's a little bit of edges that we can probably take out and clean up, especially if you don't have a high end PC. All of this can slowly build up on top and slow down your viewport. Slow down your scene, slow down your progress, especially when we start animating the water. We just want to optimize, clean up our scene as much as possible before we start applying all of these modifiers as well. Because we're going to need to do that as well right now. What we're going to do first, or what I'm going to do, and you can just follow along, I'm going to speed up this part of the video is I'm just going to name all of these things here and put them inside my train collection. So I'm going to start right now. Okay, So this is how I name them. You can replicate it from me if you want. Bottom shadow, front connector, front light, front sign, top cylinder, back top cylinder, in front top light. This should actually be front light instead of what I name this. Front light light. And then this should be front light. There we go. Top middle wheels, back wheels, front. That's about it. And then from here I'm just going to take this and then put it into my train collection like that. Then I'm going to be left with these two which were parented. So I'm just going to call this top glass, I'm going to call this front light. And I'm just going to take this, put it here now. Everything is where it should be. Before we start applying our modifiers, I want to go over the mesh one more time and do a little bit of clean up on certain areas just so that I can keep my scene as lightweight as possible and as optimized as possible. I'm going to go here in the, I can't remember what I even named this, Wheels Front. We're going to be doing the same thing for wheels back. What I'm going to do is just select every second loop edge right here, something like this. And then let's go like that. And I'm going to be just removing them because I'm going to not select these ones because I do want to keep the shape. So I'm just going to take out any edge that I find won't affect my scene, to be honest. And if I dissolve these edges while I'm looking at here, for instance, let me just select this side. Let's also select few edges. In here, you can see the amount of vertices I have in the amount of edges, and if I go now and dissolve these, the number goes down. Our scene is getting a little bit cleaned up, for instance. All of these are not going to really affect my scene, but they are going to make it lighter. I'm going to take out these ones here, let me see what else I can take. This one, this one really, this one. And keep this as is. I think that cleans up this wheel. I'm going to do the same for this one. I'm going to dissolve this one. Dissolve this one, actually, I'm going to keep that one. I'm going to keep this one. But I am going to dissolve a lot of them in here. I just pressing Alt and X selecting an edge, deleting an edge, selecting an edge, deleting an edge. And back and forth like that. That's fine. Let's see here. I'm going to delete this edge. I'm going to delete this one here. Everything is fine. I'm going to take out some edges here. I'm going to dissolve these guys up until there. Right now we have around 7,300 faces. Let's see how many we're going to have once we clean up this side. Let's just go one by one. Let's see how many we have here. Faces, if I select here, 9,000 faces. Let's see how much we're going to have. By the time we clean up. We should probably get up to 7,000 probably, I think. There we go. Here we went again. 9000-7 thousand faces. We cleaned it up a little bit, which is good. Let me see here. There we go. Take out this one. Perfect, excellent. There's a few more places that we can do a little bit of clean up. Let's see, here we have these three going down. We could probably contain them if we want. If we go like this, we dissolve this edge and then go here and collapse like that. That's going to be cleaned up. The dissolve this one and then collapse. These guys collapse with this here and collapse here, collapse here and collapse here. We also have that settled. Then here for instance, we can take this edge right here. We can take this edge, push it right here. We can take this one, push one more right here. But then these ones in the middle, we can, we can just take out these edges here. The reason why I added those to the corners, these ones here is just almost like a container for this part here balances evens out. There we go. Okay. And then let's see here. I'm going to add one edge loop to contain this to this area so it doesn't go all the way down here. But I'm going to dissolve this edge. I'm going to dissolve this edge. And then I'm going to collapse, collapse here. And just repeat the same steps I did earlier. There we go. Then here I can probably take out dissolve this edge here. I can dissolve this edge. Let me see if I can dissolve this one. Yeah, let's keep these four. I'm going to probably need for this corner. I think over here we have the same issue. So I'm just going to dissolve a couple of edges here. Then let's see, similar issue. So I'm going to dissolve a couple of edges. I think that's about it. I'm not going to touch anything in this part here. That's fine over here. Let's see. Yeah, everything is fine here. We don't need to touch anything there. Then here, everything is fine. Everything is fine here. Is everything fine? We could probably do something here, but I'm going to keep it as is. I'm going to keep this one also as is for now. Next thing that we want to do now is we just want to make a duplicate of this right click duplicate collection. Before we start applying any of our modifiers, we're just going to call this one train modifiers or train backup, you can call it. I'm going to put it below and I'm going to call this one train applied this one that we just called modifiers or back up, I'm just going to hide. And this is going to be our backup if you, if something goes wrong so that we can have it there just in case it's always good to have a back up over here. We're going to start slowly applying our modifiers, not all of our modifiers just depending on the object. If you remember our issue, for instance, that we had with the door, and we can just immediately start with the door for now, if you remember our issue with the door. But we had a little bit of that shading issue and it still remains here to this point. What we just need to do is if we apply our shrink wrap modifier, I believe, but keep the subdivision and the mirror modifier going on, I think we should be perfectly fine if I apply the shrink wrap modifier. There we go. We can keep these two modifiers going on here. If I go back even before, if I just put the shrink wrap in this instance, the order of the modifier was important, and that's what was causing the shading issue. If I put this above here, and I click here, apply it. There we go. We're doing fine. Also, I noticed a small issue here, If you can notice it around the corners. This is just caused by this thing here that we added for our shadow. I'm just going to push this a little bit, it doesn't bot it with the door. I'm going to go and start basically from the top here, from the back middle, and then slowly work my way down all the way Before we begin, I am going to do one more thing and that is apply this, make this, let's see, convert to mesh. There we go. Now we converted this to a mesh. There's a small issue happening right about here. What we can do just for a quick fix, let me just go back into my back view. Quick fix for this I would say is just, let's see into the edges and then delete these two edges. Let's go like that. Delete these two edges. Then from here, let's delete loops all over the place a little bit. Let's see, delete these vertices. Select this edge loop, select this edge loop control E. And then let's see bridge edge loops. There we go. That would be a quick, easy fix. We're going to do the same here. I think we have the same issue. Let me see. Yeah, it's the same issue. I'm going to let the vertices select this one, like this one, control E, and then bridge edge loops. There we go. That fixes that issue. Now I'm going to start with the back middle. For the back middle, what I need to apply is I need to apply to mirror modifier. There we go. Because if I don't apply to mirror modifier, and I apply, let's say the subdivision, I get this issue here with the clipping. So I do need to apply the mirror modifier first in this instance. Then I'm going to apply to subdivision, I'm going to make sure that I only have one level of subdivision going on here, so I don't need more than that. I'm going to apply this and in this instance I'm going to apply to shrink wrap modifier. There we go. All right, Next we're going to have the bottom shadow. We don't need to do anything that as your cur we already covered. Let's see, What else do we have here for the front connector, we don't need to do anything here because these aren't touching. We don't need to apply subdivision, nor do we need to apply our mirror modifier. Put our mirror, there we go. For these ones, we don't need to do the same for the front rails. For front rails, we don't need to apply the mirror modifier. We do want to apply the subdivision and I want to apply the shrink wrap. These two are the only ones that I want to apply front here. We don't need to apply anything. Front window for the front window. Let's see. Shrink wrap subdivision and mirror, we just need to apply the subdivision. And we need to apply the shrink wrap. There we go. For front wood, we need to apply the mirror modifier because it's touching here. And then we need to apply the subdivision, and we're going to apply the shrink wrap. Anything that is touching, we're going to need to apply the mirror modifier, the subdivision. And in this case we're going to apply the shrink wrap. But then if something isn't touching, we won't need to do that. You can just speed through this video or you can follow along as I'm doing this as well. Let's see, Mirror modifier, we need to apply that subdivision. We need to apply that shrink wrap. We need to apply, one thing I didn't check is how many levels of subdivision. Just be sure that when you're applying, make sure that you are applying with enough levels of subdivision. Maybe on certain things we had like two. And that is completely unnecessary because as you can see, if I put it to one, it still remains very much similar. For instance here, I'm not going to apply to mirror modifier, I'm just going to apply to the subdivision and I'm going to apply to shrink wrap, just like that. There we go. Let's see, what else do we have? Let's go to the side, bottom side door left. All right, so for this instance, let's just check to two side door left. We already applied side door right over here. We're going to do the same thing, so we're going to take a shrink wrap. We're just going to apply it. And there we go here. What is the next side window over here? What do we need? We have two levels of subdivision for our side door window. And do we really need two levels? I don't think so. I'm just going to put it at one. It doesn't do anything for my scene. I'm going to apply the subdivision and I'm going to apply the shrink wrap. I'm going to keep the mirror modifier as is. Then for next one side door window, right, which is this one. I'm going to do the same thing. I'm just going to lower this levels into Viewport and then apply the subdivision here. And then apply the shrink wrap. Then let me check if we have anything else. Side door, window rim, right? This is for the window rim. How many levels of subdivision? We have two levels of subdivision here. Do we need two levels? Let's just check. You could probably live with one, but for my case, I'm going to go with two levels of subdivision. I'm going to use the shrink wrap, apply it then. This one here is probably the same instance. Yeah, I'm going to go with two levels and I'm going to apply the shrink wrap side left window wood. Let's see what we have here. One is perfectly fine. We just need to apply the subdivision and I believe we're going to apply the shrink wrap in this instance here. We're going to apply, let me see if I apply the shrink wrap. Only we could probably keep it like that because there's not much drastic change. Let's just apply that. All right. Side middle wood. I think if we do the same, if we just apply the shrink wrap, we're going to be okay. There we go. We can keep the subdivision as is. Let's see here. Yeah, for this part subdivision, one level. All right, let's apply the shrink wrap. This one, let's apply also only the shrink then. Let's see here. With these windows, what do we have? How many levels of subdision? We have two levels of subdivision. I think we're going to need the two levels because if I go lower, there is a bit of a issue and then I would have to go and reapply it. I'm going to keep it at two in my instance. Let me just check if I apply only this. So if I only apply the shrink wrap, everything pretty much stays good. Check on this side, everything stays good because we have the mirror modifier. So there we go, Side windows, rim. Let's just see subdivision shrink wrap in this instance on the right side, I'm just going to apply the shrink wrap, keep everything else as is side yellow. Let's see side yellow. If I apply only the shrink wrap, we do get a little bit of a change in shading and angle, but I think that works fine. We have a bit of an issue going on here. I think we were going to apply first the subdivision and then we're going to apply the shrink wrap. The reason why I'm not applying all of them at the same time is because as you saw with the order of the modifiers is important. It just happens that in this instance here, depending on which one apply first, there's going to be a different type of impact. I am looking into how applying the shrink wrap versus subdivision is affecting my scene. I don't want to apply all of them because when I go into the eddy mode, I'd rather have this limited control and in a non destructive way versus having it applied fully like you see here. And then not being able to go back to a lower mesh. Let's just see we got here. All right, for the top part, we will probably, we need to apply the mirror modifier for sure. Then let's see if we apply only the shrink wrap. Yeah, there's a bit too much of a change going on. It's not that too much, but let me see. I mean, there's no shading issues for sure. We did a mistake here by not applying the mirror modifier. So let's go back to the side yellow. I believe this one here. I need to take a few more steps back. Let's see, there we go, side side yellow. Why is this happening? There we go, side yellow. What I need to do here is just apply the mirror modifier first, and then apply the subdivision, and then apply the shrink wrap. Let's go like that. Then next is the top. Let's see here. For the top, we need to apply the mirror modifier first. I'm just going to apply the shrink wrap. There's going to be a bit of a change in height, but I think that works fine. There's no issues with the edges. Everything looks good. Top cylinder back, we don't need to apply anything. Top cylinder front, we don't need to apply anything. Top here, light, we don't need anything. Here we are also good wheels were already took care of and here we already took care of, this is what we have and there we go, perfect. All right, we're done with applying all of our modifiers. What we can do now next is simply put this on a rig. What I'm going to do is I'm going to go shift a, go into my empty, and I'm going to select a cube. I'm going to make sure that this cube matches the width and length of the train. S, Y, G, Y, something like this. And then here I'm going to make it a little bit bigger. I'm going to make it, let's go like something like that. There we go. And then I'm going to push this here, make it a bit smaller, just so it matches like this. I'm going to call this, put it zero, rig zero, just so we can push it all the way up on top like that. Then when I have everything here selected, I'm just going to take this. And while holding shift, I'm going to put it in the rig that is going to make this rig now apparent. If I want to move this, as you can see, it's going quite well. But it looks like we have one issue. We didn't probably apply the shrink wrap modifier here, and we should have, let's just go click control A and apply the shrink wrap modifier here. There we go. Let's see. Now if everything moves, it works good. Perfect. This is what we're going to basically be doing to animate the train. All right, what we can do now actually is let's go and then right click here. And let's select Hierarchy. And then click shift D one more time. There we go. And then I'm going to go R, Z. I'm going to do a 180. There we go. And then I'm going to go y and push this here like that, perfect. Now I basically just have two meshes going on like this. Then what we can do is just here, this one is just going to be a placeholder. We're going to be redoing this exact same thing that we did once. We texture everything so that we don't have to texture it twice. This one is just going to be a placeholder that's going to help us with our composition. I'm going to call this main rig. We're going to call this 1 second rig, just something like that. Then we're also going to add, actually this is not going to be our main rig, this is going to be also our second rig. I'm going to call this front rig, back rig because now what I want to do is I'm going to also add another rig that's going to be holding all of this together. I'm going to do empty cube one more time. This one I'm going to put a little bit more above. I'm going to make it a bit wider like this. And then go and do that right about here and then make it a higher. There we go. Now if I take these two whole shift and put them under this one, I have this main rig that will control everything. Main train rig inside that training ring we have front, which is the one that we're going to worry with the most now. Then we still need to model this thing here and then add this here and we're going to do exactly that in the next video. I'll see you there by. 29. Modeling the Middle Connectors: I'm noticing just a few issues. I think we have a little issue over here that I might solve just by going control A, transforms, there we go. We just fix that. If you have that issue, that's how we can solve it. You may also need to apply all the transforms here. Yeah, transforms, there we go. What we're going to start here is just building this connector here and then building this part. It shouldn't take too long because as a matter of fact, we already have this pre built. We can just re, use this part here. If I go shift D, then G, Y, put it somewhere here, and I go R Z by 180 like that, and then Y, put it here. We already have a base mesh to start off with. From here, what I'm going to do is let me just apply l transforms and then see I'm going to make it a little bit smaller, push it a bit more closer here, something like that. I'm noticing there's a small mistake I did when applied. When applied, I didn't apply the mirror modifier first. I applied, it turns out I apply the subdivision first without applying the mirror modifier. But to fix this quickly, while we have the mirror modifier, what we can do is just go x. Let's just push this like that. That should fix our issue because we have the clipping here enabled. We're still fine on that end. What I want to do here, it looks like we're going to need to do it here as well. Let me just select everything X and put it there. There we go. What I want to do here is just fix this part here that's in the corner. Just make sure you go into the edit mode and make sure that your shear is enabled. I'm going to go into all Z from here, select everything here, and then just make it straight like this. I'm going to hold control and it's going to help me to move it in certain increments. That's going to help me get to zero it out. Then I'm going to select this here Alt and click on it. And then Y, and then zero. There we go. I'm going to go into my right view. There we go, here. And I'm going to select everything. And I'm just going to push this y a little bit more. Let's say something like this and I think this is going to give me a decent start. Perfect. From here, what I'm going to do is go shift D one more time. Z might need to press, let's see, control all transforms G. There we go, Z 100. I'm going to push this all the way here and then try to connect these guys. Let's see, find some decent amount. Another way that we could probably do this, now that I think of it, is just delete this. Let me see if I were to go into my edit mode. If I were to put here the origin points of press control and then click with my mouse. Without being in the edit mode, I press control and then re click with my mouse. Or is it a controller and right click shift and right click my bat. If I press shift and right click with my mouse here, then here shift and I say cursor selected slurs we actually want here objects set origin origin to three. Cursor, there we go. Now what I want from here is to add another. Just tell mirror modifier. Actually tell this mirror modifier to go into Y axis. There we go. That's exactly what I wanted to get. I just need to align it a little bit better. Let's see, this actually works fine. I think that's okay. We do need to maybe push it a little bit more. Maybe we can, let's see if I go into the edit mode of this one and then just push this a little bit more back like that. I push a little bit more. Pretty much have it good. I can press Shift C now and that's going to reset my origin to here just to make sure thing is connected, everything works, there we go. Now for next, we're going to need to do this. And to do that is also quite simple. What we're going to do is let me just, yeah, that's fine, that's fine. I was just double checking here. Let me just go into mesh. I'm going to add a cube. I'm going to take the cube, push it here. I want to make the thickness of the cube roughly something like this. I'm the height of it, something like this, somewhere around here. Let me see how this looks. All right, this in between here, I would say. Maybe, yeah. I would say something like that. Makes sense? Yeah. Something like this makes sense. I'm going to say maybe push it a little bit lower. It's right about here, This thing goes around it, but we still have this. All right. Now from here I'm going to add a bunch of subdivisions. Let me see how many control and add something like this, press escape. Then I'm going to go control like this. And then I'm going to add one in the middle. There we go. And now I'm going to press control. And minus, if you don't have the numpad on your keyboard, you can go in there, select, You can select more or less. You can press Select less there that now what I'm going to do, I'm just going to make sure that I have, I believe, my bounding box and if I press, I'm going to scale it down like that. Let me just press W so I don't no longer have the bounding box. Yeah, that's not good. I don't want to have the bounding box if I have individual origins. I think that's the one I was looking for. Individual origins. There we go. When you make sure that you have individual origins here and then you just scale it down like that. I'm going to add control one to add a bevel. Might even add two levels of bevel. And then I'm just going to go here and add three levels maybe subdivision. I'm going to take this level, push up right about here, take this level, push it up right about here. And then for this part I'm going to take this level and push it, something like that. And then bounding box and scale it to these corners. Shade auto smooth. I don't want them to be this sharp, so I'm going to add an edge in between these corners like that scale. I think that gives me what I'm looking for. You could go further and you can add more subdivisions in here, but I think I'm going to keep it as is like that. Now what I'm going to do, let's see how many subdivisions we have here. Going on two levels, so there's a lot of going on here. So I'm just going to go maybe like this one. There we go, something like this. What I want to do now here is let me just shade auto, smooth. Maybe I'm going to apply a Bevel modifier. Let me see, just so I can get these edges a little bit more nicer. Mount segments, maybe two segments, something like that. There we go. But I am going to apply the subdivision, the reason why apply this subvisionI'mto my verdict select node right here. I'm going to go under select. I will, I want to select random. Here we go. Random select. Let, let's take a couple of different ratios like this one. Press Alt, and then, and then I'm going to, let me try to move it very slightly, ever so slightly, not to break anything. And I'm going to go and do another select random. I'm going to go another random seed and then alt S one more time and then just holding shift, just moving it but very little I'm going to go at and then move it just a little. I think I broke it way too much. Now I'm going to go a few steps backwards. I'm going to probably have to go one more step backwards. The hold shift a little bit. There we go. Select random shift just a little bit. I want to do this one more time. Select random al hold shift and then just a little bit, this just gives me a little bit of a variation going on here. Let me see if I can apply one more subdivision. I'm just like overdoing it at this point with the subdivisions. I can't apply one here. Let's just have one level like this. I just wanted to essentially, let me see one more time. Maybe if I go select a sell random then at S and then hold shift, there we go. So just make sure that you have a subdivision applied. A subdivision also here. That's just going to give me a little bit more wiggle room. Give just some variations, not all of them are exactly the same. I can also use, if you want, you can go here in proportional editing and then press and then, and then move this a little bit. Move this one here, move this one here. This one a little bit here on this one. Like this one. A little bit more up. We just want to achieve a little bit of randomness there so it doesn't look so perfect like that. There we go. I'm just going to call this connector connect metal. I don't know, I'll put this, let me see. I'm going to put it in my 01. So I'm going to put this into zero. Now if we move everything, we finally have our train completed and we are done with it. For the next steps, we're going to be going creating the environment. So we'll start with creating the station, and then once we're done with the station, we'll move on to texturing. And once we're finished with the texturing, we move on to the animation. All right guys, they'll be all for this video. And I'll see you in the next one where we'll start building the station. 30. Modeling the Station: To begin building the train station. I'm simply going to start off by hiding this part here with our reference images because we don't need them anymore at this point. What we're going to do is simply going to my right view. And what I want to is just to center the train somewhere around here, something like this. This is basically going to be this scene that you see in the right corner. Then from here, what I'm going to do to use the base of this station, which is going to be this part here, is a simple cubes. I'm going to go add a cube in my top view, I'm going to put the cube somewhere around here. And then I'm going to scale it in the X axis a little bit, make it a bit wider. Then I'm going to scale it into y axis, making it a bit longer. I'm going to go into my review again because I want to nail this composition. I want to see how far, in terms of dimensions, how much wiggle room space do we have here, And then how much do we have here, get that amount. I'm just going to push this a little bit further. Something like that. And I'm going to hide by clicking Alt, Shift and Z, just so I can see. Okay, and then if I push this, something like that, make this like the height, I think this is going to be good enough. I'm going to shift all Z at one more time to my top view. I think this is going to work just great for that. What I might do now to help me navigate through all of this is I'm going to add a plane. I'm going to use this as a reference where water. I'm going to press S and then I'm going to type in, let's say 30. We scale it 30 times like this. And I'm going to just apply the scale here as well. Now I can get a better idea of the level of water and everything. I think the water is a little bit too low. In my case, what I'm going to do is I'm going to push it just just enough to say cover a big portion of the wheels but not go further than that. I think that's fine. Okay, let me see. Now from here we need to start modeling this part of the station. The first thing I'm going to do is I'm going to start off by, let me assuming to apply to scale obviously first, then instead of having this be like a block, I do want to have it at an angle. This edge right here, I'm going to select this edge right here. And then just press S Y to have them scale just a little bit like that. It goes at the angle. Might need to scale it a little bit more. So everything around there is going to be fine. Now from here, what I'm going to do is I'm going to add a bevel modifier. I'm going to add, say, three bevels, maybe four, and then lower this down somewhere around here. But I'm going to use also, not angle but the weight for starters. I'm just, I'm going to select everything and apply the weight everywhere, all the way to the max from here. I just want to, let's see, how do we want to approach this? How many bevels? I don't want to go more than forward to be honest, because it's already going to be really far. Maybe having it somewhere, I guess 0.05 is going to be good enough. Shade smooth, shade auto, smooth my bad. But I do want some parts to be a bit. For instance, this part right here. I do want it to be a bit. I guess I might need to increase the bell weight a little bit more. Let's try. Yeah, 0.0 0.2 But then this edge, then then this edge right here. These edges, I want them to have smaller weight. Let me see how that's going to look. Okay, then maybe I'm going to decrease it here. Just maybe 0.1 See, I think that's going to work fine. Just a little bit of a softer edge on this corner. That's here, but then here we could probably have it a little bit sharper. And then also we could probably may increase the bevel a bit. Just like that. I think that's going to be fine. Okay, perfect. Now, the next thing that we need to add here on the station, what we're going to do in this video, we're going to add these wooden planks. Not the ones here you see over there. But first we're going to add these guys right here. And we should also probably think about adding this. I'm not sure what this is about. This doorway, this part here. We're going to add a cube just to represent so you can get an idea for our composition To do this first, I think it's going to be easier if I just hide the train for now. Oops, let me see, what did I just do? There we go. Let me take out this. We need to actually create a collection for all of our things here. I'm going to select the cube. I'm going to select the plane by clicking Control and plane here. Control while holding control and clicking the cube. Put them in outside of the collection. Select them both again, press M, add them into a new collection, and we're going to call this collection environment. There we go. Now if I hide this collection, I'm going to hide the train. It's going to be just much easier for me. What I want to do next is just get a rough understanding of where this is going to be located. And I can see that it's located de a couple of steps next from here. And this column or wooden, not sure what this is. The sign here is right at the end of it. I'm going to start off, let's say if that's right here, somewhere at the end of it. Then then the entrance, the door, this part here is going to be probably somewhere around here. I'm going to just add a cube and I'm going to put it somewhere around here. I think that makes sense. It's not exactly at the middle, it's a little bit on the right side from here. I'm going to add a train now because I also want to see how big is the train compared to this. It is almost the same height as the train. If I do add the train here, I can then push the cube here. I can say, well, it's almost the same height. I might make it a little bit lower. I might actually go and just select this face and push it a little bit lower, Just something like this. The train barely covers it. And I think that's going to be fine even though the train here is a bit higher than it on my end. I'm just going to choose for not like this because that's fine. Now I have an idea where that is. Now we just need to start adding the wooden planks that we had here, these guys, all right? And to start adding that, essentially what we need is a simple cube. We're going to start off by adding a cube, and then I'm going to add a cube. Put it somewhere here in the corner. I'm going to put it a little bit more up. And I'm going to press, and I'll press shift Z. And that's going to allow me to lock it in x and y axis while scaling it. It's not going to scale it in the Z axis for now. Now from here I can just select this part, push it down. Let's see, how tall are these planks? Let's use our reference image here. Again, the planks are roughly up to the window. We could say, let's see, I'm going to push this all the way here on the side just so I can use it as a comparison. You could say that the planks are roughly this tall. I might even add them a little bit more height, just like that. I'm going to add, set the origin to geometry. So my origin point is here in the center. I'm going to push this a little bit up. I'm going to guess that the planks are somewhere around here. And I'm going to press again one more time, shift Z, and then just make them a little bit thinner. Put one right about here. I'm going to make this a little bit thicker, somewhere around there. Perfect. Let's do, let's do one more shift somewhere around there. Yeah, let's go like that. Okay. Next what I want to do is I can immediately first apply the scale and then I'm going to add a Bevel modifier. I'm going to add, let's see, 123. Make this much smaller this time just a little bit of a bevel, somewhere around there. Right click, shade, auto, smooth. Then from here, what I want to do is inset this here, then push it a little bit outside. Scale it a little bit more just so that I can achieve look for a base, I would say somewhere somewhere like this. Yeah, I think that's pretty much matches that look. Now, I'm going to add also three. Let's, let's go with three. I think three is going to be enough in this case. And then we might add individually more. The reason why I added this edge loop is because we're going to be adding some imperfections to it. Now we want to just scatter this piece of wood that we have all across the station. The way I'm going to do this is by using a array modifier. I'm just going to click Array here. And in the settings of Y modifier right now, it is giving me a count of two. We can see and it's scattering it in the x direction, but we want to put that to zero and we want to scatter in the Y direction. Now, 20 too much. I think I'm going to go with maybe eight, and I'm going to scatter them in the Y direction, something like this. Let me just see how that goes. I think that's good. Let me just see how this side over here, we have probably 123. Yeah, I think we're going to have 1234 planks over here. Right now we have three, but that's fine. Let me also two, we could probably maybe add a ninth one but then decrease to something like that. There we go. I think this is going to be fine. I'm going to apply this modifier because I am going to now be changing each of these ones individually a little bit to add some difference. I'm going to hide my train again because it's blocking my view. I'm also going to hide this view here on the right side. I'm going to click here to apply. Now that I've applied this, I can do changes to all of them once in dieted mode. But the first thing I do want to do is I'm probably going to take this one here and then go Y. Let me just go into my edit, my x ray mode Y, and then push it maybe a little bit more closer to here. I'm going to take this one, push this one here, maybe I'm going to take this one a little bit here. I just want to make them a little bit irregular in terms of distancing. See, this one's here. I might even take this one out because I see that there's none here. Maybe there is one. There is none over there. So I'm going to take, maybe this one out. I might even delete this one. I'm going to keep this one and push it somewhere here or something like that. And there we go. Now that I have that, I'm going to start off by adding a little bit of a difference to each of them. This one, I'm going to change the height a little bit. I'm going to change this here. I'm going to maybe rotate it a little bit like that, just so it doesn't look exactly the same like every one here. So they're not identical because no two things are always identical. I just want to add a little bit of imperfections. Maybe go here, add this a little bit more, maybe lower it down, scale it more. Add another inset and then move that inst a little bit more up. Maybe this is a bit too aggressive, so I'm just going to push it like that. And now I'm just going to do the same thing for all of these guys. I'm going to speed this process up now. There we go. Now I'm going to take just one quick glance and see if there's anything that maybe stands too much out. Because I don't want it to stand out too different. But I just wanted to be a little bit different so that people can go and be like, oh wait, that is completely the same. I just want to give a little bit of a difference to each and every one of them. There is that feeling of difference going on over here, for instance, I'm just going to take this, put it here under side, maybe give it a bit of an angle. Perfect. Next what we're going to do is add these two planks right here, and you see them spreading all the way here. And you see them spreading all the way here. That's going to be very easy to do. The way we're going to do that is simply, yeah, the way we're going to do that is simply going into shift A, adding a plane, R, Y 90. Then I'm just going to put that plane somewhere here, going to my top view, push that plane right about here. Now from here, I'm just going to scale it into z axis like that. I'm going to push this side, let me see how high this thing is going to go. It's supposed to be I'm, let's see, roughly, let's say somewhere around here is going to be the upper one. And I'm going to just go and do this. Yeah, I think something like that. And I'm going to push it on this side. Is that plank in front or is it behind? Let me see here. We don't really see, it's definitely behind. Okay, that's good. We have this plank that's behind. I'm, I'm going to take this side and push it all the way to roughly here. For now. I'm going to say that's where it's supposed to be. The next thing I'm going to do is now I do want to do this in a non destructive way. I think the best way to add some thickness to this point is going to be using a solidify modifier. I need to definitely apply the scale. So I'm going to go and apply the scale for this plane. Then while I have the solidified modifier, there we go. I'm going to also add a couple of edge loops here to it. I'm going to add a few edge loops. I'm going to go and I'm going to do a B again, modeling just so that I can add some difference to it. I'm going to push this one a little bit like this. This one maybe. Let's see, I might push it a little bit down this one here, a little bit up this one here. I'm going to go like this one. I'm going to keep exactly the same, might keep this one a little bit thicker. And that's what I'm going to do here. I'm going to go now and Alt while I'm in edit mode and just shift and duplicate it. So I just keep it all as one mesh here even though I duplicated it. And I'm just going to take out this part here that I don't need to delete these vertices G, Y. There we go. Let me see how it goes here. This goes all the way here to the end. So I'm just going to do something like that. I do want to make them meet up. Similarly, I think this is good. I think this might be even too much. I'm just going to push these guys a little bit more up. There we go. Now over here, what I'm going to do is I'm just going to select all of this and then shift the **** down. So I have this duplicate. But for this duplicate, I don't want it to be exactly the same. So I'm going to try to straighten this one up manually because that's going to help me maintain these imperfections. It's not going to be perfectly symmetrical. I'm going to scale this one a little bit, make it maybe a bit thinner, maybe that's too thin on this side. Then over here, let me see. I'm going to do this shifty well in edit mode then I'm just going to make this one also thinner. I'm going to, I'm going to make this side perfectly straight. I just want to see how that's going to look like. Well, this side is perfectly straight, the other one isn't. I'm going to push this maybe a bit lower, this bit higher like this. There we go. There we go. We have now the first parts of our train station. All right, I think I'm going to cut this video here because we're at the 20 minute mark and we've done a pretty good job so far with doing these planks and everything here. So what I'm going to do now is just cut this video and we're going to then start adding. I'm going to show you how to add these planks then in the next video. 31. Modeling the Wooden Planks: For this video, we're going to be building these plans. We're going to create a couple of variants that we can then spread. To start off with that, I think the easiest way is going to be if we go into our right view and we add a plane. I'm going to rotate the plane by 90 degrees and then just put it, say, somewhere around here. I'm going to create a couple of variants that are going to go from here all the way to here. Let's just start off by scaling this, then let's see Y, I'm going to make it a bit thinner then maybe Z to get a certain height idea, something like that. I want to see if I can find a rough comparison in terms of size. It's definitely smaller than the highest peak there. I'm going to go and do, I think something like this in terms of basic height is going to be just about right. We look here, we can also see the distribution. I'm going to go back into, I think we have a couple of more examples here which is pretty good. Again, this is one of those instances where you can see here they're very close to each other. But then if I look at this image, they're way, way more distributed from each other. I'm going to think use this one here as a reference for height and how far they should be from the ground. Again, here we can see they're actually very close to the ground. Might even try to scale this. I'm going to go and use this one as reference. Something like this is going to be fine for me to start off. I'm going to push it right about here. For now we can see that they're push actually behind. So we're going to do that a bit later. Now what I'm going to do is, let me see. We could probably, I'm going to add 123, maybe I think four loop cuts is going to be perfect for now. And I'm just going to start trying to get the basic shape by selecting these two. Something like that. And then here I'm going to just push this up. Something like this is going to be like one of my planks for now. For instance, then let me see. Maybe I'm going to scale it just a little bit more. Scale in the y, x, z, x the scale it down in something like that. Apply scale. Okay, I'm going to shift, I'm just going to duplicate this process in creating a couple of variants. For instance, for this one I'm going to make it, actually I'm going to this up like that. I'm going to take this part, make it like this. Now I'm going to go and create another variant, Y and do, let's see, I'm going to make this one a bit thinner. I'm going to make it smaller, smaller here. And then push it, maybe make it a bit longer here. Now I'm going to also do another one. And I'm going to speed up also this part of the video so you can go and create your own variance. There we go, I'm going to add one more, so I'm going to close it at eight, so I have right now 1234567. I'm going to do one more variant for this one. Let's see, I'm going to pick up something like this which is almost already have this part built. I'm going to maybe push this a bit closer here together. Take these guys, push them a bit here, and then push them a little bit down. And then I'm going to use this one here as a reference. I'm just going to take this one, push it up. This one, push it up. But then I'm going to take these guys, push them down. Maybe I'm going to take this one also, push it down, and then this one also push it up. This is a bit too extreme, so I'm just going to make it a little bit less extreme, Something like that. Perfect. Now, we have eight different variants for our wooden plan. I'm going to take this one just because it stands out way too much. I don't want it to stand out too much. There we go. So we don't want anything to stand out too much. We want it to feel somewhat natural, believable. These guys work perfectly fine. I'm going to select all of them right here. Let me just see, 1234567. Yeah, there we go. I'm going to press M to add them into a new collection. I'm going to call this wooden planks. There we go. I have these guys in the collection. I can put this collection also inside my environment so it's all together. I'm going to take also these guys, put them here in the environment, not into the wooden plex, just into the environment for the wooden plex collection. We only want to have these guys here. And then also, one thing I do want to do that I forgot to do last time is I want to go in here, then add, let's see, increase my solidify modifier for sure. That's the first thing actually I'm going to increase it to 0.2 0.02 there we go. And I'm going to add a Bevel modifier for that Bevel modifier. I'm just going to add two levels of subdivision and decrease this while holding shift and then scrolling towards left. I'm just going to give it very small bevel, I believe I've applied the scale, but I'm just going to do it one more time. Let me see. I'm going to make it a bit smaller. Let's see, this is too much. Yeah, 0.001 There we go. Just a little bit of a beber. It's not a super sharp infinite edge. There we go. Now we're here. What I want to do is just add also a Solidify and a bevel. I might even just press control here, shift here, click here, control, copy the modifier. Then I'm going to probably make this a bit smaller, bit thinner, right about there. I think that's perfect. I'm going to do here the same. Then click this one, copy modifier. And there we go. So they all have modifier applied. I think that's pretty good. I'm going to close it off for this video. And then in the next one, we're going to be diving into creating a basic geometry note set up that's going to allow us to scatter all these wooden planks across this field. 32. Scattering the Planks Using Geometry Nodes: Right as a press record, in my tutorial I noticed in my right view, that these two planks are basically identical from the bottom. And so I just need to quickly make them a little bit different. And I'm going to make probably this one also a little bit different by pushing this edge a bit down because we want to take out as much of the similarity out. Even though they look different, they might have a similar pattern to them. And our eyes are pretty good at recognizing these patterns. And that's exactly what we need to break, we need to break patterns. And that's really what three D comes down to in a lot of work, is breaking down patterns, breaking down similarities to try to create that randomness feeling or at least the illusion of randomness. And that's what we're going to be doing in this tutorial. To be specific, we're going to be creating the illusion of randomness by taking these eight planks and then scattering them in randomized order across this area here. Unfortunately for this we can't really use modifiers. Maybe there's a way, I'm not familiar with it, but it's much easier to use geometry nodes in all full transparency. I'm not a geometry nodes expert, but luckily for us, this tree that not even a tree, it's more like apprehens, this node tree that we're going to be building is going to be very simple. Let's just start off with building it. To begin, we essentially need to tell blender in which on what exactly do we want to scatter these guys to? The best way, in my opinion, for this, is to add a curve. Or at least for this instance, the best way would be to add a curve. I'm going to add a Bezier curve. I'm going to go put that curve a little bit more up. Going to my top view, I'm going to rotate the curve by nine degrees. Going to edit mode x zero, just to straighten it up while in edit mode. And then x, put it here. Take this part, put it roughly here. Scale it a little bit down. Take this part, scale it a little bit down, Put it right about here at the beginning like that. Then from here I'm just going to put it a bit closer here. This curve is basically what we're going to tell blender is this curve is going to be a place where we're going to tell blender to add these planks to. Now to tell it we need to go into our geometry nodes set up. If we've never been to this layout before, what I'm going to do here is just, oops, I do want to tell Blender to take this right screen, and when I have this plus icon appear on my mouse, I'm going to push it to the left. That gives me a little bit more real estate here. Now, to start off with our geometry nodes, we need to click here on New. And this is just going to create two geometry nodes. One is going to be the input. The input is basically what is our input? The input is our curve that we just created. The output is going to be everything that we do here in the middle that is going to showcase here. Essentially, whatever I add here in the middle is going to be what's going into the output. What I want to add first is I want to just change this curve into points. To do that, I'm going to go shift A. And I really tried to find it here, but I wasn't able to do so, to be honest. I'm just going to type in here, curve to points. Now you can see that Blender has changed this curve into these points. We can add as many points as we want. I'm just going to keep it in ten for now. Now the next thing is that we want to tell it to change. Now these points to these planks in this case. Now if you notice also if I click on the plank, my geometry nod set up disappears here. If you end up in the same situation, what you can just do is click on the Bezier curve here. If you want to keep it regardless of wherever you click, you can click on this pin here. Regardless of where you click, the tree is going to stay here. I might actually do that just so that I don't get, I don't have to click constantly back and forth. Well I show things, but as I said now we need to tell Blender to take these objects here and convert, or actually take these points and convert them into these objects. Another node that we need here is called, I believe in instance on points that one we can even find if we go here under instances, it says instances on points, not two points, but on points, this is one way we need, there we go. Now everything disappears because for this node, we need to tell this node what are exactly these instances that we want to add. The instances that we want to add are all inside of this collection. What I need to do is basically just take this collection, drag and drop it here, and now connect these instances to this here. You can see here over there, it's a little bit funky, but all the way out over there, Blender has started to create this. If I go and add a few more, you can see it's adding. We just have a couple of issues. The first issue is that they're not at the right position. We need to go here and tell Blender to separate the children and we tell it to reset the children. Now you can see that it's creating them here, but another issue you can see, it's stacking them on top of each other. We need to tell it to only pick one instance out of this collection. Here we're going to do is sick instance like that. Now we have it. But another issue that we have now is that we need to rotate them and that's where we're going to use this rotation field here. Because if I click here and then drag it, what I need to do now is add a node called a Euler. Rotate Euler. If you watch another blended Toria. If you watch the Donut tutorial specifically, this might be very familiar to you. Because what we're building here is similar to that node tree that was done in the blendedtorial. To scatter the sprinkles, it just happens that in this case we're not scattering sprinkles, we're scattering planks, and we're scattering them all inside of one direction here. Now we added this rotate Euler, we can now control the rotation. We can put here, for instance, 90 degrees, and then we can put it under Zaxis, put also 90 degrees and you can see how it's rotating them, right? But one more thing that we need to do, or what I'm going to do is at least I'm going to hide these collection here because it doesn't bother me. It almost looks like we're done here, right? Because we can go here under count, we can add a couple of planks and it already looks pretty good, but we want to take it another extra step forward. What we want to do next is we want to add a bit more randomness. A bit more rotation, so they're not all fully straight. Now here, rotate Euler for under rotate By, we're going to add a random value. This random value is going to help us give a range of randomness that we want to control for the X, Y, and Z axis. Just make sure that you have here under vector. I think in earlier versions of blender, it it puts it under float. But in the newer versions it immediately changes it to vector because float gives us a value 0-1 but the vector gives us the values for x y, and z axis 0-1 We have more control in which how we want to rotate this. Now, this part is a bit tricky. I'm just going to turn the minimums into one. What do we need to get first? We need to put them as straight up as possible. What I'm going to do here is and type in zero or maybe 1.5 and I think this is getting me already really close. I'm going to go 1.6 I think 1.6 is very straight in that direction. Now for here, we just need to rotate them all, I believe. Let's see if it put here for 00, that's going to rotate them perfectly. Now next what I'm going to do is I'm going to take them, put them a little bit more to the plank right about here. Also, if you're not satisfied, let's say you want these guys to be thicker or you want to maybe add another plank, you can just go here. And whatever change you do here like this, it's going to be later on applied over there. If I go and change this up or down, you can see it is being applied there as well. If you want to add another plank, you can go here and go shift D. Add one more plank, for instance, make it straight, give it a bit of an angle. Take this one here, there, there you go. You just added another plank, and that plank is going to be also represented in here. This gives us a lot of control in that I'm having a little bit of trouble seeing it here, all the things here. What I'm going to do is go here under settings and let me see. I want to add backface culling. I think I'm also going to go add a shadow. There we go. And this shadow is just going to help me with my visibility a little bit better. There we go. Now that we have this random value going on here, we can also add, let's see, a little bit of rotation, not on this side but on this side. I'm going to put it between one point. Minimum is going to be 1.5 my max might be, I think that's fine. Maximum for 1.6 the value that it's rotating is between 1.5 and 1.6 This isn't rotating at all because it's exactly the same. And this is also the same over here. I might put it maybe 1.65 I just add a little bit of randomness. This rotation direction 1.75 might even be. It looks like it works. There we go. Now if we want to take this one more step, not further, We can do this same thing for scale, so that we add a, I believe just random value like this. And now we just put everything for one. Then over here we can just push things a little bit more up. 1.1 I think is going to be fine. That is just going to change things a little bit for us. You can see that you can also change the set if you want. There we go, from here. What I'm going to do, I think, let's see, do we want to add more planks? Well, we could probably go and add a little bit more right there. But there's one more thing that we could change, and that is the distance between each plank. Now, you don't need to do this. This is like an extra step and I don't even know if this is the best way. This is just something that I came across during my own research or trying to figure this out, is if I want to have all these planks be a little bit of a different distance from one another, because right now they're all using the same distance. What I can do here is add another node, and I believe that one is called just a second merge by distance. There we go. And if I add it here, now I need to play between these two variables that I have. Let's say increase the count by, let's put it 100. And then here under merge by distance, I start impacting that. You can see that it merges the planks by distance. But then if I increase a little bit more after a certain amount, let's say I get up to 200. You can start noticing that the distance between certain planks is starting to get different. If I play just with these numbers, you can see if I increase the merge by distance between them increases or decreases if I just continue playing with these numbers. Let's say if I get to 500 here and let's say something like this, I think this creates this variable illusion much, much better to something that we have here perfect. And you can see even here, for instance, where you have D three really close, but then there's a little bit of distance happening and so on and so forth. The next thing that I want to do, we have the issue where it's actually, I think, repeated. Let's repeat it here. It's repeated here, and it's repeated there. We might need to, let's see, drop the distance, or maybe increase the distance just a little bit. I think this might work better in my case. There we go, we just need to repeat this here. For this part to do this I believe would just simply be if we go shift, put it on this side, I'm going to unpin this because I'm going to need to go into this other geometry node, because now we're going to have two geometry nodes. I believe. I'm going to take this, put it here, and then just drag it all the way here. Let's see, this is now, currently, I think the same, because everything I do here is going to also impact there, which as a matter of fact, is not even that big of a problem. Now that I look at it, I think it looks okay. I might actually, let's just look at our reference image here. I might actually, let's see, maybe decrease the distribution just a little bit. I'm going to increase the distance, something like that. And then this side, let's see, something like this is also not bad, but I would like to have a separate no tree to control this side. What I'm going to do is I'm going to click Copy Geometry Node Group. There we go. We have two geometry nodes. Now everything I do here is not going to affect anything I do on the other side here, I can just go and play with this a little bit more. I get something like that. There we go. I'm pretty satisfied with how this looks like for my case. But you can also go and change. As I said, this is a very simple geometry note set up that is initially inspired by Donut tutorial. And then a little bit of a twist because of our different instance situation that we have here. But yeah, that's pretty much it for this video. And I'll see you guys in the next one by. 33. Modeling the Entrance: This video, we're going to be modeling this entrance. I think this is an entrance, that's how it looks like over here. It's because people go through this passage point. We're also going to be modeling this pole here that we have as well. To begin with, the entrance is actually quite simple. We already added the box here. As you can see, What we need to do next is just, let's go into our edit mode. I'm going to go into my top view, all Z, and then select this side. Then just try to match the thickness of this wooden plank that we have here to match what we have here. Let's see, maybe I'm going to move it just a little bit more. I'm going to go face select Y. Let me see how much space that's going to give me. I think that's pretty okay. And I'm going to lower, lower this part a little bit down now. This looks pretty good, I would say. So I'm going to go shift y and then just push it here just so I can get an idea of how it's going to look like. So I put it somewhere like this and I push this one a little bit inside like that. That's what we're getting. That's good. Let me see from here. What I can do actually even is take this one out for now. And then I'm just going to go X, push this a little bit backwards because I need to match it to the distance of how much space there is from here to here. Now as it turns out, there is a wooden plank right here, but we're not going to deal with that right now. And I also have to apologize, we have a huge storm right now. If it's raining a little bit, so if you hear some thundering and some rain falling, sorry for that. I'll try to clean it up as much as possible in the post. So I'm just going to, let me see right about here. Now, while we have this here, if you, if you look at here, you can see that this is actually going all the way down, supposedly, here. That means that people actually take stairs to go downward. And that's what we need to create here. The way I'm going to do that, I'm going to cheat a little bit and do it a bit of a lazy way because we've been so perfect. Or try to be so perfect up until now. I'm just going to go into my front view. Select all Z. Take this, I'm going to push this first, all the way there we go, somewhere around here. And then I'm just going to push it down like that until I get a decent, least similar angle. I think I went a bit too much. Let me see, front view. Push this a little bit up, something like that. I think that's what I'm going to go with now. I'm going to go shift G, Y one more time and then just do this. There we go. I'm push both of them just a little bit more forward. X, there we go. Let's see. So that's how much it's over there. That's how it looks here. I think that's fine. That's going to work. Okay. I wish I had this upper part as a reference, but unfortunately I wasn't able to find it. We're just going to have to deal with what we have here for representation. And we do know that there's a bit of a sign also there's something going on here. What I'm going to do next is now I need to add a roof on top of this, right? I think the easiest way to add one, while also matching the angle that we did this is just simply clicking on one of these meshes that we created. Clicking shift on this face, then going shift to duplicate it. Clicking Escape to reset its position, and then clicking to separate. There we go, we have our separated object. Now from here I can just go into that separated object, click it, and then y, put it here, and then just start going while in the edit mode, let me see. I can select this edge and I can just go Y on this side and I can select this edge and then go Y on this side. I think that's just going to give me pretty decent. I can move this a little bit more here. A little bit more here. There we go. And then I can press three, go into the face, click extrude, and then just extrude it, not too much because we're going to give it a bit more layers. But extrude, let's just give it a first, the let's just give it a thin one for starters, something like this. That's how much we're going to extrude it. Now, I just want to push this part here. I think I need to go into my front view. We need to push this edge a little bit forward. It matches up. Something around there. It's going to be fine. Perfect. Okay. Now from here you can see it has a little bit of these extrusions outward, then goes up. Then it extrudes outward one more time. This part here, this face here. If I select this face, I'm going to ex, this face outward. I'm just going to have, let's see, bounding box. And then press and then to scale. Or actually it might even be better. Let me just take a couple of steps back. I'm going to take two steps back. Just make sure that you take two steps back so that your extrusion doesn't stay here. I'm going to take two step back, two steps back. And what I'm going to do is go like this. Then I'm going to go press Control, I believe. Is there extrude edges? No. Is it all extrude face? Extrude faces along normals. That's what I'm looking for. This one here. Press Alt, and then extrude faces along normals. Then I'm just going to press this and just do a little bit of an extrusion like that. There we go. Then from here I'm going to select this face, now I'm going to select this face. And I'm going to press Shift, Shift Alt. And then press on this face here as well. Shift without the Alt. Actually, there we go. Now I'm going to press one more time, upwards to Exes. I'm going to clean up this mesh because I don't need this face here. I'm just going to go and delete this face. I'm going to select these edges. I'm going to delete them as well. So delete these edges. Or I might even go delete vertices. There we go, vertices is better then Alt on this edge. And then I'll going to click to fill out this face just so that my geometry is a bit cleaner. Now we have this, then from here, what I can do is we construe this one more time. I would say out like this, select it all, and then press one more time, faces along normals. One more thing I'm going to do is I'm going to apply the scale. Something that's also important, I need to apply the scale everywhere here. Then extrude faces along normals. There we go. I think I went a little bit too overboard. I might even go a bit. Extrude faces along, let's see, too much. I'm going to do one more time, extrude faces along normals. I'm going to hold shift this time while scaling, just so I can get a better angle. I think this is fine. There we go. Next I'm going to do here is add a bevel modifier because I don't want to have these super sharp edges. And then I'm just going to go and offset it all the way. Just a little bit. I have something like 0.003 I'm going to also add a bevel modifier here, or I can just go and shift on both of these guys. And then shift on the one that I want to transfer the modifiers from. As long as this one is light yellow and then these ones are orange Control C copy modifiers. And now both of these guys will have the bevel modifier with them, which works perfectly. Now we have this, that's great. Let me see what else we need to do. We need to add a plank up top here as well. And what I'm going to do also here, so it's not like fully perfectly run, I'm going to, let me see, I'm going to add a little bit of subdivisions right here and then loop cuts. I'm going to add a few loop cuts right here. I'm going to go into my right view edit mode. I'm going to select both of these guys and go into Mc and then change them, both of them a little bit. I'm just going to select this edge. Just do a bit of a, just some very slight movements for a imperfection. And I'm going to do the same here. Just a little bit of very minor thing. It's not like perfectly straight. I just want to break down that perfection a little bit. Something like that. And then shade, auto, smooth, shade, auto, smooth. There we go. I just did it a little bit to break it down. That works good. It also works fine. Perfect. The last thing I think we just need to add on here is this thing on the top. To do that, we're just going to go again, we are going to add a cube. X. We're going to make that cube a little bit th, something like this. Make it smaller, something like that. I'm going to go into my right view, Try to put it, let me see here, roughly around here. Apply the scale. We're probably need apply the scale one more time. It's easier to remember to apply the scale when you have this here. You just press N and then go to item. As long as the scale here is one, we're good. But right now it's, let's see that x one more time. There we go. So thank you. We have this somewhere about here. Maybe we should push it a little bit up. Let me just a little bit more up. Z, right about there. I'm going to do is add just a little bit of loop cuts just for the same reason. Like this, Like this here. Just to give it a bit of a imperfection right there, click shift on this one and then shift on this one. And copy modifiers so that I can have the Bevel modifier here as well. The only last thing that we need to finish this one off actually, is if you see there's like this box where I guess the guy who's checking the tickets is, we can do this box also fairly easily. We can just add a cube. Then let's go into our top view. Put the cube somewhere around here. I'm going to press S to scale that cube. Let's see, something like this. I'm going to go into my front view. Push it up, go into my right view now like this. And then Y, put it somewhere here. Then put it, let's see how far he is. A little bit inside like that. So something like this. He is standing over there. Like I said, we're going to cheat a little bit on this part. What we're going to do is let's go like this. Let's do we see there's a bit of an indent over there, so I'm going to add a bit of an indent right here. I'm going to do is here. I think that's where he does the indent. And then just press, let's see, we applied the scale. We haven't, Let's go now this is going to give me that indent scale, it a little bit more. There we go. And then if I add a bevel modifier 123 auto smooth, and then the amount I lower to again 0.003 This gives me right about that what I'm looking for. Then here I'm just going to press on this face. Click to inset inside, and then click and then Z, and then just push it down. Even though this is, nobody's going to see this, I'm not going to worry about making anything on this side because nobody's going to see that. As long as we have something like this, that's going to create a good enough illusion for us. That's that. I think we're done with this part. So now we can just go and build a pole. The pole is going to be very simple. If we just look at the pole, it is practically a cylinder. All we need is to add a cylinder in here under vertices, we don't need this many vertices. I'm just going to divide this by half. I think we're good to go with 16. I'm going to put it a little bit more up now. I'm going to scale it to make it thinner. I'm going to go press and then shift Z to scale it only in the X and Y axis, without having to scale it in the Z axis. I'm going to try to get it to a certain thickness that I would say that much. Yeah, that looks good. Shade auto smooth. I'm going to put it down here. I want to put the origin point below it. It's going to be easier for me to scale it. I'm just going to make the selection here. I'm going to go press Shift Cursor to Selected. And then I'm going to exit the edit mode. Right click, set origin three D cursor. There we go. If I put this, let's say here, and then I start scaling it. It's just going to scale axis, but it's going to scale on the upwards. And that's exactly what I want, I want to get, let, let me compare the height here. From here I would say this pretty much matches the height. Can push this now to Y somewhere here. If you want to reset where three cursor is located, you can shift. And that's just going to reset the three cursor location. If you go into my top view now, x, I put this somewhere. Let's see. Somewhere somewhere about here I think is going to be fine. Let's see into our right view. Yeah, I think this is where we're looking to put it. I might move it maybe a little bit more here, towards the middle. Now the next thing that we need to do is it has a little bit of these arrows, like directional arrows, I'm noticing the top is a little bit pointy. So I'm just going to quickly do that by insting here like that. I think I need to apply the Z. There we go. I need to apply the scale which is what was missing in my insting then Z scale like this. Just give it a bit of that pointiness. And then this part I'm just going to go control to make it like this. And then this part I'm going to also go control B to make it like this, so that we don't have any modifiers here. That's fine. Then now we need to just add these pointer directions to do that. The way I'm going to do it actually is just going, let me see, control R, adding one loop cut, pushing it. Let's see, I'm going to start from bottom and then move my way up to top because I think there's three of them. I'm going to add one loop cut here. I'm going to level this loop cut into two like this. There we go. Then I'm going to shift to do this, I'm going to to separated by selection. Now from here, while I have this cylinder part, it's going to go into the edit mode. Select the entire, all of the faces. Let me see. Click to extrude to scale, I think. See, do I need to apply anything here? No, I've done everything here, right. So when I press and it's scaling outside, might let me see a extrude along faces. There we go extrude along faces, that's what I was looking for this way. It's scaling perfectly like that. Then from here I'm going to select one of these faces ops. I'm just going to extrude it in a certain direction. Then I'm going to extrude it one more time. And then I'm going to do this I think I'm going to extrude one more time and just do this. There we have it. Now, if we don't like this, I can maybe scale it at bit more up. Something like this is good enough. What we can do here, this is going to be barely visible, but you can add a bevel modifier here as well. Bevel modifier and then lower this. I'm going to assume it's going to be in. There we go, 0.04 That's great. Now we just need to shift, duplicate this, add one more, then let's say we're going to create a one more and then we're going to say shift one more. But then let this one we want to rotate. If you want to rotate, it can't just go and press this, I believe there we go, because it is using this origin point. But if your origin point isn't there, if your origin point by some reason is, let's say somewhere here, all you need to do is just repeat the same process where you select edges. Let's say for these guys, you go into shift, then cursor to select it, exit that object, set origin origin to three, cursor. As long as the origin is in the middle of the circle here, you can rotate it in which direction you want to show it. And there's that that's how we did this. I'm just going to shift see to exit that I believe we are done with the scene. All right, the last thing that we just need to model, and we're going to do that for the next video, is this sign art that we have here, which should be fairly simple to do as well. All right guys, that will be all for this video. And I'll see you guys in the next one. 34. Modeling the Station Sign: This is actually the final part of the modeling stage for our scene. The only thing that's left to create is this sign that we have here. Without any further ado, let's quickly begin modeling, because this shouldn't be too hard. As a matter of fact, all we need to start with is a simple cube that we can add right about here. And then scale. It's super small, it's going to be used as our base for this leg. So I'm just going to take this cube, go into my top view, put it, let's see, somewhere about here, I'm going to go into my right view, drop it a little bit down, then from here I'm going to push it probably a little bit more forward for now. Just so it's a bit easier for me, the cube is touching the bottom, which is good now, I think here we have a bit more angles than four. But for simplicity's sake, I'm just going to use a cube as a base. Because this might be, look like there's another angle right here. I'm not 100% sure. But whatever the case, I'm going to scale this a little bit lower like this. Put it down, Apply the scale. Now the next thing I want to do is I do want to apply a mirror modifier. But I need to tell this cube where that mirror modifier is going to pop up. Because if I just go here and I click in mirror, now where is that mirror actually showing? Right? Because it's basing it off of this origin point. There's a couple of ways we could do this. I think one way we could go about it is say, well, we want to cube, to peer into y axis. But now this origin point is here. So how do we move the origin point? Well, for instance, I believe the one way of doing this would be if we go into our edit mode. And then if I go and select everything and go Y. You can see now this is like a easy, and let's call it a bit of a dirty way to do it, but I'm going to stick with it for now. Seems to be doing quite well for this purpose. Let me see Y. I want to put it, I think the distance of them should be somewhere around here. I'm going to put this a bit more lower again, one more time. Something like that. Let me just zoom in here so I can get a better look at it. Okay, And then what I need to do next is just go in maybe a little bit more upwards, like this. Scale it down, and then inst and extrude one more level up, then intlittleitp, something like this. Now I just need to push this, let's see. All the way up. Something like that. I do think that my sine is maybe a bit too thick. What I might need to do is make it ther let me see If I go shift and then shift. If I do it like this, then these two are going to get closer. So I'm going to probably need to move them a little bit. But actually now that I look at this distance, this isn't that bad. I might move them just a little bit, G, Y, let me see. Yeah, something like this is going to be fine in terms of distance now. In terms of height, it's definitely going to be higher than our, whatever this is like fence. Yeah, somewhere around here, I would say. I think that's pretty much good. Now, we also need to enable clipping here. I'm going to my right view. The lower part here is right about here. That's how I'm going to do it. I'm going to add one loop cut here. One loop cut here. Then from here I'm just going to press E and then start extruding until these two guys clip that. Now we don't want to have a face here, I'm just going to take out this face and just leave it as is for now. Here like this, it is a bit thicker. I'm now looking at it. Might this edge here actually let me see what's going to be the easiest way to select All of this probably faces our edges here. There we go. I'm going to take this set and then Z it a little bit down to make it not as thick. Think that does the job pretty well. For some reason, My shadow I want to include my shadows. I want to include backface culling. Actually, no, I don't want to inclue backface culling. What I do want to include is cavity. There we go. Cavity is what I want to include. There we go, That's a bit better. Now, the top, what we have here, I'm going to do this one right about here. As a matter of fact, actually I might do it. See top one is a bit separated. I'm going to do. Right about here. And then actually a bit more up, something like that. And this part, I'm going to push and connect them. I'll take out this face, keep this as is now. But I'm going to also take this edge, select it all. Let, push it a little bit up just to give it a bit of a T like that shape. Then let me see, what else could I need to probably take this set of faces, I'm going to have to extrude it a little bit outside and I'm going to take this set of faces also extrude a little bit outside. The best way to do this and think it's going to be a extrude faces along normals, something like this. Then shade auto, smooth. There we go. I think this looks pretty good from here. I'm just going to add a Bevel modifier, three levels, it's perfectly fine lower. Let's see, 0.005 I need to apply the scale here as well. Just make sure to apply the scale. We have our base. I think the last part that we need to do now here is just add what's going to be the signed the easiest way that I would probably go about doing it. Let me just see. Well, the first thing I'm probably going to do, I'm going to apply the mirror modifier. Let me see. That's going to give me, yeah, what I could do here is actually the easiest way to do it exactly is to add a loop cut right here. And then select this loop cut. Go shifty selection. Now I want to have this loop cut selected a. Going to press one. Let's see. I think if I go into my grid fill, it's going to work perfectly. Fine Gridil, there we go, it did the job perfectly. We can add it some thickness. We don't need to use a solidify modifier. We can just go and then choose a direction where we want to add a thickness to. I'm going to just do it like this and apply the scale. Well, the scale is already applied, so shade smooth only. Let's see, for bevel, we don't really need a Beble in this case. I think if I took out the Beble out, we're going to be fine. And there we go, that's our sign. I'm just going to move it a little bit closer here. But yeah, we are officially done with the creation for our sign and with the modeling. Can do a little bit of tweaking if you want. If you think that this is maybe needs to be wider, it's going to be fairly easy. Just go like this, right mode, a Z, select one side up until here, push it a little bit more, or you want to select maybe both sides like this. If you think if you press Y, you can scale them. There you go. Like this a little bit. There's different ways. You can just take a one side, add a modifier mirror again, and adjust it in my case. I'm going to keep it as it is in terms of the distance, and I think this looks pretty good. We can add the train now if we want. Let me just see Train Apply. We can make it like this. I'm going to click on the brick here that we created and then just push it a little bit back. This is what we have is our scene. We have our entire scene modeled out now perfectly. And all we need to do now is start texturing it and animating it. We're going to start with the texturing in the next video. Guys, for now, one thing I do recommend, I'm going to do this outside of this video, is just fixing all of these guys here, fixing their names, adding them, and then adjusting them into their own collections so that we stay a little bit more organized once we get into the texturing phase. All right, so you can do that on your own and I'll see you guys in the next video by. 35. Texturing the Train Planks: Tutorial, we're going to be texturing this part of the train, Everything here that has these wooden planks, the front part in the middle, and also then this side part over here. That's what we're going to be texturing. As you can see here on my right side, I have taken the liberty of organizing my environment as I said in the previous one. If you want, you can ase the video right at this frame and then copy the way I've organized my environment collection. You don't need to do this. It's just a good habit to do in case you're maybe handing off your project to somebody or you're just trying to stay organized. You don't want the amount of measures that you create, especially for big projects, to bottleneck your workflow. It's just a good habit to stay organized when doing projects. But for now what we're going to be doing is setting up are layout for blender. To do that I'm going to hover my mouse right above here. When I see this ply side can appear. And then I'm going to drag it to the left. While clicking here, I have two windows for the left side. I'm going to use this left side for my render view. What I'm going to do is go press the Z on my keyboard and go into Rendered. But we also need to set up our render settings. I'm going to go back in here, going to put this a little bit more up. This here, this icon here which says render properties, we need to set up our render engine. Right now it's set up to EV, but what we want is to use the cycles render engine. Instead, you can notice a small change happening here, especially if you move around a little bit, which is okay. But as you notice, obviously our scene is currently very dark. One of the things that we can do right now, as a matter of fact that we should, is add our sky so that we add a little bit more light to our scene. To do that, we need to go here where it says world. If you see here in color right now, there's a gray color that's set up and that is what is shown on here on the left side. If we change color to black, it's going to go black. If we change it to white, it's going to do that red, et cetera. But instead of having a color here, what we want to have is a sky texture. Click here on this yellow dot and then go with your mouse all the way here to sky texture. Now we can see that we have a sky in our scene. We need to change these settings that we have here. On the right side, we have the sun size, that's over here. You can see that decrease the sun size. For instance, our shadows get much harsher over here versus if we increase whenever you have a larger source of light in terms of the size, you're going to get softer shadows. If you have a smaller source of light, these shadows are going to be much harsher. It's exactly the same in real life. This is simulating how real life light works. Another thing we have is the intensity. If we lower the intensity, we can see that the sun becomes dark. And that's actually beneficial for us because now we can see where it is. And I actually my son not to be in the behind the train, I want my son to be on the left side of the train. As a matter of fact, I'm going to change the sun rotation and push it all the way up to say, let's see, we are currently at 90, it's over there. I want it to be somewhere around here, 100 and minus 154. There we go. Now for the sun size, I'm probably going to want to increase the size. Maybe up to ten. Then the intensity I'm going to bring back to one. All right, So now we have our sun hitting all the way up there, but I want to put the sun a little bit more down. So I'm going to control here the elevation now and I'm just going to drag this number down. And as I do, we can see that the sun is slowly going down. And I think somewhere around here, 0.7 is going to be fine. It is going to give us a little bit of that sunset look, which is exactly the look and field that we're aiming for. I'm also going to drag this now a little bit more up here. Since I'm already dealing with the sky texture. I want a little bit more real estate so I can see what's going on on my left screen. All right, Next thing I'm going to change here is the air. And a good thing is that if you hold your mouse over each of these settings, blender is going to tell you what each of these settings does. Essentially, if I hold here on the dust density of dust molecules and water droplets, I'm going to put that to zero. I don't want any dust for density of air molecules. I'm going to reduce the density. And you can see if I reduce the density, now I'm getting this look, which is actually pretty good. Might increase it just a little bit ever so slightly. If you want to do like small increases, you can hold shift on your keyboard. So just press shift and then move it left or right. And it is going to change the slider in a much smaller increments. There we go. I'm also going to hide all of these things so I get a much clearer image on what's going on on my scene here. There we go. Now we have our sky texture set up. We have a good idea of how the shadows and everything is looking. If you want, you can tweak it for me. I think these settings are just good enough. You can play around with the rotation and as you can see that we get cool effects here with the shadows happening, which is also not nice. All right, the next thing that we're going to do is start texturing this part here. I'm going to move this now a little bit more to the left. And I'm going to keep this right about here. I'm going to zoom here just a little bit. And for this like that, there we go. So we're going to be texturing this part, this part and the one behind to find our textures. I'm going to go into my browser. I'm going to show you a few websites that I use to get free textures that you can use on a daily basis. One of them is, I believe, called MB and C, G. There we go. This is a website that has a lot of different assets, including HDRIs, also three D assets. And as we just need materials here you can find a whole variety of materials. But for our case, what we need is a material. And as a matter of fact, we could use plenty of these ones and then maybe change. Like for instance, this material over here is also good that we could probably use it to change this then color into reddish, then it would probably work. In our case, this one could probably also work just by changing the hue value of it. But we just happened to be so lucky that I found exactly this one here. It's called planks 028. If you just go to the site here and in the search if you go to the materials and you type in here planks 028, you'll be able to find it on your own like that. Now here we have an option to download different textures, so we can go from one K 2k4kk in my case because because we are basically going to be a bit further with our train, we're not going to be really, really close. We could actually get away with using a two K texture. Usually if you are much, much closer we would want that fidelity, then you would go with probably a four texture. But four textures will also take up a little bit more of your memory on your project. We do have to always be careful about optimizing our projects. Especially if you have a mid, like I said, BC, you always want to be careful about optimizing your project, not overloading your scene. One way of doing it is just be careful what kind of textures we use. You can just click on here at two K and you can then download the file and simply unzip it. I already have that done, so I'm not going to be re downloading it again. But once we're done, then we can now make sure that we have this part here selected. What I can do now is open another window. I'm going to pull this like that. I'm going to use this one here just for my selections. I'm going to put this like here. I'm going to use this one here just to make sure that I have this selected because I've removed all the Gizmos as you saw here. I'm going to use this one to go into my shader editor. There we go. I'm going to press and to hide the settings here. What I want now, while I have this here selected, what I want is to add a new texture. There we go. Now for material, I'm going to call this one red. I'm going to call it actually wooden plank. And I'm going to put it front like this. So I know that this is my front wooden plank. All right, next thing we can use our Node wranglar add on that we have installed on our blender. And if I press control shift and then letter like this, it's going to give me a new window to select the textures that I want to add into blender. I'm already to go here where I have them saved in my texture file, and the textures that I want to add are the occlusion, I'm going to hold control while clicking on these textures. I'm going to add the color, I don't want to add the displacement, we don't need it for this case. I do want to add the normal and the roughness map. 41234. There we go. And I'm going to click Add, Don't. Angular is immediately going to map out all of my textures and everything here as you can see. But we do have an issue. As you notice, even though our texture is added, it looks a little bit wonky. As a matter of fact, the scale of it is reared and the rotation of the texture is reared. In order to fix this, what we need to do next is we need to unwrap this texture in a way that's going to be better mapped out. We need to unwrap the texture, but our mesh here, that's going to be better mapped to this texture. To unwrap our mesh, what we can do is go here in the front view, make sure that you have this front mesh selected. I'm going to turn this on so it's a bit easier now, maybe for you guys just to understand what is I'm talking about. I'm going to go into my edit mode. I'm going to select A to select all of my vertices here. I'm going to press U for my UV Mapping settings. Here. I'm just going to go and say Project from View. While I'm in the front view, I'm clicking all of my mesh and clicking Project from View. There we go. Now you'll notice that this immediately looks a lot better, but it's still a little bit of an issue. These planks are way too big. The next thing that we want to do is simply change the scale of these planks. I'm going to go while clicking with my mouse, and then dragging it all the way down like this, So that I select all three, the X, Y, and Z. I'm just going to try to play with the scale. In this case, I need to increase the scale number and it's going to give me more wooden planks. Something something like this is going to do the job just fine. There we go. Now we have that. You can also play, let's say with the rotation. You can change the rotation here as well. You can also change if you want the location, for instance, if you want to push them a little bit up or down, that's depending on you. In my case, I'm going to put them just a little bit somewhere. Let me see. I think I want to put them somewhere like this, so that I have these pins. As you can see, these nails right almost here, it looks like they're nailed to this at the bottom of it. There we go. I'm pretty satisfied with how this looks, although we do have a bit of a repetition happening right here. Because we've scaled our texture so small that now our texture is repeated. I'm probably going to change the lazy way now where I'm, let's scale it just enough so that the repetition is broken. There we go. And then just lower it just enough. This is right about here. Perfect. Now, you might also notice that as I move here in my shader editor, you might notice that our ambient occlusion node isn't being connected to anything right now. The reason for that is we need to mix the ambient occlusion with our base color. That is going to give us a little bit more of a shadow effect on these edges in these corners here where we can control. To do that, we can start by clicking shift A and going into here and typing Mix. I'm going to add mixed color. I'm going to click here. And then the next thing I'm going to do is I'm going to mix the ambient occlusion here. I'm going to put it under here. And I'm going to put the alpha here under the factor. There we go. Now we need to also change the setting here from color, from mix to overlay. Now we have our ambient occlusion note here, but we also want to be able to drive the strength of this ambient occlusion. The way I'm going to do this is by going again here into the shift A add type in search. I'm going to add a color ramp is going to enable me to clamp the values of this ambient occlusion. So I'm going to put the color ramp on the color here on the top. And one, let me just make this a little bit easy. I'm going to take this factor out right now so that you know which I'm putting it. I'm going to put the color ramp right here and I'm going to go here on the alpha reconnected to the factor, there we go. Now if I move this like that, you'll start noticing that my shadows over there are becoming much more distinctible. I get a bit more control over my shadows. As you can see, that's essentially what That's essentially what our ambient occlusion texture can help with. I'm going to put it, say, somewhere around here. I think it's going to be fine. Yeah, I think I'm fine with this. Now, another thing that I also want to do is affect a little bit the color of this wooden plank. It's not lightish. Essentially, I want to add a little bit more red tint to it. The way I'm going to do that is simply by clicking a shift a and then going here, and then another color ramp. I'm going to just add it into here. Now this is going to turn it purely into black and white because these are the two values that we have here. And we can control, again, how we want this to be. But what I want is to change it to a color that's much more resemblant to what we see in here, this reddish one. To do that, I already have the X values mapped out, so I'm just going to copy paste them and you can try to do it yourself. So you would go here basically and then change this, and then try to go maybe a little bit in here and you would get a certain value like that. But in my case, like I said, Or we could go, I guess with this pinkish one. In my case. I'm just going to go here and paste this value, 5322. You can type that in and then press Enter. Something went wrong. Let's go one more time. Enter. There we go. So this is the value I'm looking for. And then for the other side, I'm also going to type in another value, 6484 a. Now I have a color that is somewhat resembling more to what we have in here. Next thing I want to do is add a little bit of reflection to this, because right now there isn't much reflection happening. And to do that, I can go here into this roughness. What I can do is just take this color rim that we have here, press shifted to duplicate it, and then drag and drop it into the roughness right here. You can see it now it's getting a little bit of that wet look, almost like it has like a coat over it. What we can do is just maybe change that. If we drag this a little bit more towards here and put this a little bit more towards here. There we go. This is going to work. We see how it looks a little bit better, I would say perfect. I think this is pretty good right now for our front part of the wooden plank. Later on, we'll be adding a secondary texture to all of this. So we'll be mixing two textures to get a bit more realism. But for this video, for this video, and for this section, we're just going to be focusing on our primary textures so that we can get our scene filled up. All right, now let's continue to add a texture over here on the right side. In order to do that, we can just go here into the right view like this, and then simply in here, choose the wooden plank. Now we need to repeat the same step where we click on this here, press Tab, select Everything, and then go to and then Project From View. There we go. The issue though here is that let's say we want to change this, changes to go, let's say a little bit, maybe down for a location, we can see that the changes don't only affect here, they're also going to affect here as well. We don't really want that only to affect these changes here. We're going to need to click here to duplicate this texture as a new material effect like this. Now this texture is separate, new material and I'm going to call this instead of from going to call this side. Now any change that I do in here, let's say I want to put this a little bit more down, something like that. It's going to only affect this side and I want to, let's say change the scale to make it maybe a little bit more thicker or maybe. Yeah, something like this. There we go next. I just want to do the same thing in here. I'm going to go select the side. There we go, select everything A let a project from view. Again, I'm going to have to duplicate this texture one more time. I'm going to duplicate this texture one more time. I'm going to call this side middle like this so that I can go here into the scale and then change these wooden planks to better match what we have going on here. There we go. We have a little bit of an issue happening in here, and I think that's because of how our textures look right in here. What we're going to do here is probably we're going to need to add, maybe this to enclose it. I just added a loop cut right in the middle that helped me contain that issue. There we go. That looks much better. Okay, over here what I'm going to do is I'm going to lower the amount of ambient occlusion. Do something like that. Let's lower it a little bit more because this repetition of textures was a little bit more noticeable and so I wanted to mitigate that. This looks better. Okay, and then here on this side, we're just going to. Let me see. Let's go here on this back, Rick. I'm going to click Shift and then click on the Hide in Viewpoint. That's going to hide the entire scene. Now with your mouse here in the outliner, I'm just going to click the period key. That's going to show me where this connector is. I'm just going to hide it for now just so I can get a better view of what's going on here. Now the issue here is that we cannot use project from view. That's because this view is on two sides. We have to go here and we have to go back. Instead of doing that, let's just first apply detexture. I'm going to go side middle. I'm just, let's see, I'm going to apply the middle one. I'm going to click Tab A, and then I'm just going to click on Wrap. With the Unwrap, that's going to help us to unwrap this entire texture wrap, this entire mesh as a matter of fact. But we're still going to need to do some changes. I'm going to duplicate this 11 more time and call this back for here. I'm going to need to play a little bit with the rotation and a few other things. Rotation, I believe it's the Y. If I put it to 90, we put it that's not the one then looks like. Let's go here and try to change the Z -40 This will work for me. It's going to give it that straight look. It's a little bit of a corner. Still Might need to push it like something like that, but I'm going to need to change the scale as I'm going to play with the scale now and there we have it. All right. I'm going to go back into the back and deck connector middle that I hidden. I'm going to put it back. And I'll go into, let's see, my back rig. And put the back rig here as well. There we go. We have our wooden planks texture right now. Perfect. 36. Texturing the Front Metal Element: In this video, we're going to be texturing the front part of the train here and this part on the side. We're only going to be ticturing two things because as you can see, the side mesh goes all the way and back. Hopefully this video is going to be shorter and easier than the previous one. We need to find a texture that has metallic properties, as you can see here in real life examples of trains, This here is definitely made out of some form of metal. And here as well, probably we need to find a trained to find a texture that resembles these properties that we can then apply to make a look like this. All right, enough with the rambling in here. I am back in the ambient CG window where we had our wooden plank. If I click here and go to the materials I can find, I believe somewhere here it says metal. The thing is though, that I went through a couple of these textures that we see over here and I'm pretty sure that you could use some of these, but I just didn't like them. How in my personal taste and use case, I didn't like them. So I went to another page where you can also find free textures. The other page is called Holly Haven over here. This is also as it says here, the public three D Asset library. You can go here under Assets and under Textures. I believe I put in here also for metal. This green metal rust texture was the one that I decided to use. We're going to be doing the same thing as last time. We're going to go here, instead of four K, we're going to download a two K version of this texture. We're going to go here and press download. And I'm going to save it in my file right next to my other wooden texture. Then also be sure to extract your texture here as well and zip it. There we go. Okay, now I can just go and delete it going. Now back into our blender file here, we just need to repeat the same steps. I'm just going to put this like this. There we go. For my layout, I'm going to drag this one. Drag this one now down. I'll use this one here for navigating, selecting. And then this one is going to be for my texture editing. There we go. I'm going to go here into my front view like this. I'm going to go not texture shader editor. There we go, my bad. I'm going to go into my shader editor. Click New here, now click on the Principle BS DF shader control shift and all right, I'm going to go back here to my parent directory and this is where my green metal rust texture is. Going here into textures In here I'm going to select again the diffuse the roughness and the normal. I don't need to take the displacement. We're not going to be adding any displacements for now. This is what I get. All right, let me just make a little bit space here because we're going to need to change, obviously this green texture. The first thing that I'm going to do is go into my tab mode. Press A and then press, and then I'm going to project from View. There we go. Now we can see that we're going to probably need to decrease this texture a little bit because this is way too big. I'm going to go here under scale. Something like this I think is going to be fine. It's going to be okay. Then the next thing that we need to do is change the color of this texture. To change the color, we need to go here under base color again. Shift a color ramp like this. Our color is between black and white. I already have saved the color values as last time that I use, so that we can save up a little bit time. If you want to experiment, you can just click here in the black one, go here and then change it. Try to experiment to which color works best for you. I'm going to add the ones that I found work best in my case for here. I'm going to add 93753. Enter, there we go. And then on this side I'm going to add, let me see, 9d815. These textures worked pretty good in my case, but we're not done yet. We still need to change a couple of more things. We have the metallic property here, as you can see, and we also have the roughness property. And I want to effect both of these properties a little bit more. Now, I'm going to start off with the roughness. I want to achieve a little bit of that reflection that we have going on here. I'm going to go shift a color ramp. What I'm going to do now is I'm going to press control and shift and then click on this color ramp with my mouse. This is going to show me how this texture, this roughness texture is mapped out on our scene. If I now move here, this you can see. Thing, essentially that's becoming black is what's going to be reflective, what's going to be very glossy. And then everything that's more closer to the color white is essentially going to be rough. If I wanted everything here to be fully glossy and reflective, I can just put it all the way down here. But if I wanted a areas to be dry, I can go to maybe something like this and I can put them closer now to clamp up the values as well to something more like this. Now if I click here in the principle BSDF, and I click control shift and click on it. And I move it a little bit, and we can also see here we're getting a little bit of that glossiness happening, but I don't want it to be this glossy, so I'm going to move this a little bit more towards here like that. There we go. All right. We can probably maybe decrease our texture a little bit more and we can increase our normal map here to get a little bit more of what's happening here in these shadows and corners. To give it a bit more grudgess, I'm going to put it to two or strength. Then I'm going to change the scale, maybe, let's see, I'm just playing with it. If you want to see better how your texture is scaling, you can go press here on the base color. Go like this, control shift and click on it so that now you can see what's going on with the base color from here. As I changed the scale, now I have a little bit better visibility in terms of how big my texture is. But you can see if you go too small, you're getting a bit of that repetition happening as you can see here and here. We do want to be careful with that so that your repeating textures are not way too noticeable. I think I'm going to go with something like this here that I have. I'm going to click back on the principal DF control shift. Click on it like that. There we go. If you want, you can also change your Metallic value. I'm going to go shift copy this in here. Let's click on the metallic and let's just see how we want to change it. If it goes all the way to white, that your material is more metallic. If it goes all the way to black, material is less metallic as you can see here. Now it's like super metallic. If I put it more, it has a little bit of a less of that metallic view. I think I'm going to have it somewhere around here. This is looking pretty good for me. This is just the first layer of our text. We are going to be adding an extra layer of texturing to give a bit more of that realism. Because right now, everything is looking a little bit too clean and that is perfectly fine. As I said, we are going to be adding more layers as we go along. Now we just want to add all the base layers so that we can get the general look idea of how this is going to look like for here. I'm going to go into my right view. Now to texture this part here, I'm going to go into my tab mode, select a select everything, press U, and I'm going to, instead of project from you, I'm just going to click on Wrap for now. And we'll see what we're going to be dealing with now. We haven't used this before, but we can also see how this measure has been wrapped. I think it might be useful in this case. Let's go here and then click on UV editor. We can see now this is how our texture, how our mesh is being on reps. So if I go here, let me see under these images, I need to find the green metal rust. There we go. This is or believe this one. This is how our texture is currently being projected. And this is going to most likely cause some issues for us now as we apply the material here. And we also need to rename this, so I'm going to call it yellow, yellow metal. Let's see if the way that this texture is currently being applied, as you can see, the way it's being mapped out here is going to cause any issues for us. I think the best way would be to figure this out if this is causing any issues, would be to move our sun. I'm going to move our sun, rotated a little bit around to here so I can get a better idea of how this material is currently reacting and how it looks. I can already tell that this is way too big, So we're going to need to scale down the material a little bit. One way to do this would be to now go either, if we go here and change the scale, it's going to also affect the scale here. We don't want that, we could duplicate it, that's one way of doing it. But we could also go in here and then try to scale the way this mash is wrapped around this texture. Another thing that we could do is maybe, let's try to change the way that this was wrapped. I might go here and press U. Instead of just clicking on wrap, I might go try and use Smart UV Project. Then we add here island margin. Just put it to 0.0 Ten press. Okay, there we go. Now this is much cleaner in terms of how it looks here in the UV. If we increase this, the scale, this is going to decrease. There we go. So I'm just going to put it, let's see, I'm going to put, it just fits a little bit. Something maybe around here, but I'm going to put it maybe on this side here. Because now we have these repeating textures and we don't really want those textures to be repeating. Let's see if we can try to get rid of as much repetition as possible by just aligning how our mesh is being rejected. Here, I think when we put it at a little bit of an angle, does the job more or less? Well, one thing that we could do, even though this might be a little bit advanced for this case, is to break down this repetition. Let's, we could go in here and simply, let's go this duplicate, this texture, select everything here, Shift to duplicate. Now, add a mixed shader, there we go. And then connect this one to here. And then connect this one to here. And then connect this one into our output. Now I can change maybe the location of this one. This is going to break up our texture a little bit because we are mixing these two textures and blending them by 50% If I go here, everything is going to be the texture that's up top. If I go here, everything is going to be the texture that's here. If I put it right here at the middle, we're blending these two textures one over each other. Now I can add a bit more variation just by messing around with the texture that's underneath, as you can see here. If I go, for instance to the scale, let's assuming to see closer. What's happening? Let's say I changed the rotation. You can see now we're moving certain parts of the texture and just adding a little bit more variance to it. I think that's going to help us with this issue. Perfect. I know this was a little bit of advanced thing that we haven't done before, but it is a very common practice to break down textures that are repeating by simply mixing them together, or mixing another texture that's similar to it. And then trying to achieve that a little bit of that extra randomness, which is exactly what we've been trying to do throughout this whole tutorial whenever we were modeling as well. The same principles do apply to texturing to a degree. 37. Making a Procedural Metal Texture: Up till now, all of our materials have been built using image textures. Such as the planks here that we see on this side. These textures are, as I said, images of a certain object, and then if we zoom in, we can also even see the pixels. Then out of those images, we get derived roughness map. We've got a normal map, an ambient occlusion map that tell blender different values. And then it interprets it and creates a material as we see here. And the same goes for this metallic material we have over here. For this video, we're going to be doing things a little bit differently. Instead of an image texture, we're going to be creating our very own procedurally generated texture using blender nodes and noise textures within our disposal. With that, we're going to get a couple of extra abilities to control different properties of this metal texture that we'll be creating, as you will see as we go along to begin with this, the first thing I want to do is instead of texturing the strain, I want to use something better or something much more easier to preview my texture. I'm going to go and add a UV sphere here. I'm going to push this UV sphere up. I'm also going to activate my shortcut VR, so you can see my keys. There we go. I want to also clean up my scene a little bit. I don't need this part here at the bottom. So I'm going to put this down. I'm going to push this a little more to the left, like that over here. I'm going to zoom in that. Then with my right click, I'm going to go shade auto, smooth. I'm going to add one level of subdivision just to clean up these edges over here. And this is going to be my working space for now. To begin adding a new material, I'm going to click on this sphere and click here to New. There we go. Additionally, what I can do is I can rename this material to call it Metal. All right, now before we begin, in full transparency, I'm not an expert when it comes to procedurally generated texture. As a matter of fact, the texture that we're going to be creating now is something that I've learned by watching a tutorial by a channel called Blender. Made easy, this texture that we're going to be creating is actually the same texture from there. Just with a little bit of extra tweaks that I've added in the process. If you want to learn more about procedurally generated textures and get better explanations of certain functionalities, I do recommend checking out that channel to get a bit more information in detail. But for now, let's focus on building our metal texture. Since we're dealing with metals, I'm going to go into this metallic property of my BSDF shader. And I'm just going to go and turn this all the way up. That next thing I'm going to go is drag the specular all the way down from here. I want to start off by adding a noise texture shift. A noise texture, there we go. This noise texture is going to be used to drive a brush stroke effect on our metal object. To preview this noise texture, I'm going to click control shift and click on it. And now we're getting a look of how our noise texture looks like. This is done using our node Angular add on. Without the node Angular add on, you wouldn't be able to do this then if I press control on the noise texture blender or the node angular add on, as a matter of fact is automatically going to give me a mapping and a texture coordinate node. From here I want to do a couple of changes to this noise texture, how it's being mapped. I'm going to change from object from generated to object, so I'm going to connect this, then I'm going to go into the scale. And I'm going to increase the scale all the way till I get these lines like this. And this is already starting to give me that brush stroke effect. I'm going to drive the Y lower to say, 0.1 something like this. Then I'm going to also do some changes here to my noise texture. I'm going to change the scale a little bit to condense the lines a little bit more. I'm going to increase the detail and increase the roughness just a little bit. And distortion. I'm just going to put to maybe 0.1 like that. Now the next thing I want to do is I want to add a little bit of chaos to these lines here. So that's not so perfectly straight. To do that, I'm just going to take this noise texture over here and I want to mix this noise texture along with this mapping node that we have. I'm going to go here and type in mix color. I'm going to push this here. Then from here I believe if I take the factor and put it in here and I take the object and put it into the vector. This is now going to drive this noise texture here within here. If I increase the factor, for instance, you can see it's starting to get really noisy. And what I'm going to do is just take this all the way down to say, 0.24 something like that. There we go. In this noise secture. I do want to do some small changes. I'm going to change the scale to let's see something around here. Then I'm also change the roughness, maybe 2.5 there we go. And distortion. I'm just going to put it all the weight down to zero. This is what we have right now. I might also increase the factor here just a little bit, something like that. Now we add a little bit of randomness into our brush strokes. Next thing I want to do is I want to add now color to this material. And to do that, I'm just going to push this, connect it to the material output like that. Or you can also press Control Shift and click on the principal BSDF. I'm going to push this all the way here and I'm going to add a color ramp right here for this color lamp color ramp. I'm going to clamp down these values a bit closer together, but I am going to now choose colors that are more closer to some form of a metal. So I'm going to take make it like this, I'm going to take this one, make it a little bit lighter, somewhere like that. I think these two work. If you push this closer, you can see now you're getting the values of the lines look a little bit different. I'm going to put it somewhere around here, something like that. For now. The thing is I don't really want to have to go in here and change the color of both of these handles every time I want to have the color of this material change. Instead of doing that, what I'm going to do is add a mixed color here. There we go. Now I'm going to change this mix to multiply. If I push this factor all the way here to the side, now it's basically fully multiplying this here with this value here. If I go and change the color here, now you can see that I have complete control of the color of my material. I'm going to drag the saturation all the way down to zero it out. And I'm going to push this maybe to somewhere a bit of a lighter color. This is the color that we're working off right now. The reason why it looks, it doesn't look gray by default is because right now our sun and our sunset is, as you can see, giving that orange, golden hour color that is being reflected on our material. But in terms of the brush stroke, we've added the brush stroke to our material as you can see it here. The next thing we can do is also change here. Instead of multiply, we can press F two, or we can go right click and choose rename. And we can just call this color. Now we have the base color of our metal here, and we can control it by this setting. The next thing I want to work on is going to be our roughness map here. We've used the noise tture, now I'm going to push this, everything selected, push it a little bit more up, just so I can get a bit more space over here. I'm going to add what's called a musgrave texture. There we go. And I'm going to press control shift on this musculate texture, just so I can see what it looks like. And I'm going to be changing a few settings on it. The scale, I'm going to drive the scale down all the way to 0.1 there's nothing really visible here. Then I'm going to increase the detail to, let's say, all the way up top. But when I lowered this dimension, now I believe you should be able to see what's going on here. I've put the dimension to 0.1 and now we can see how our musculate texture is starting to look like. From here. What I want to do is go back into my texture coordinate. And I want to take this object and drive it into the vector. It uses the same coordinates as we have up until here. And this is what we get. Now one more thing that you could do is we want to isolate this sphere. It's only that in my view here, I'm going to press forward slash on my keyboard. This is going to isolate the sphere, so that I only have to look at that versus having to look at the entire scene that we've built up so far. Now what I want to do is just add color to my musgrave texture. I'm going to go into a colors that I'm going to go into my search color ramp and I'm going to add colors that are fairly similar to what we have in here. I'm going to clamp this here, push this here. I can also press control shift on my principal BSDF so I can see what's happening. I also have to connect my color to my roughness. And this is what we have right now. But instead of having this, I want to take this black one, push it to something closer to here. I'm going to take this white one, let's see, Push something like that, something that's close to these colors that we have up over there. I'm going to take this all the way to one edge to the other edge. Right now, we have barely any roughness. Somewhat visible over here with the reflection of the sun. We need something to help us control the strength of our roughness. Instead of having to constantly change the colors and move this left and right. To add that, we're going to go here and add a math node like this. Instead of add, we're going to change this to multiply. If I increase the multiply value, you can see now my roughness is also being changed. You can go also here if you want to clamp down that value a little bit more like that. But for now I'm just going to keep it as is. And I'm going to rename this and call it, let's see, Roughness, strength. There we go. Last thing that we want to do, I'm just going to let me drag this a little bit down. Something like this. But yeah, let's organize this. Show it a little bit more up so we have more space. But last thing that we need to add, or what I want to do is work on the scratches for this material. Before we even begin with the scratches, I did forget one more thing. Let's say we want to be able to control the color of this roughness. To do that, we really need to do on this color that we created, duplicated. Put it red here. Now from here we just need to take this height of the musgrave texture and push it all the way here into the factor. Now, this musgrave texture basically works as a mask or our base color that we have here. If I go into my principal BSDF and I change the color here, let's say to red or to green. We can see that this node here controls the color specifically for our roughness. This can give us some really cool abilities. For instance, to give, get that washed out metal or basically rusted metal. Look, there we go. I'm going to drag this back all the way down. I'm going to change the color, maybe a little bit darker here. This one I'm going to keep as is, but I'm going to rename this to roughness color. Now I have my base color. I have my roughness color over here. I have my roughness strength. As mentioned earlier before I was interrupted with this roughness color. We're now going to be adding some scratches to our material. So far we've used the musgrave texture, we've used the noise texture, now we're going to be using what's called the wave texture. I'm going to push it somewhere around here. Let me just organize this a little bit better. There we go. For this wave texture, I'm going to press control shift to just preview how it looks like. Now we're just going to be changing a few of the settings as we did with all the other textures. I'm going to go with the scale and push it somewhere around here to one. I'm going to change the distortion to say 25, 26. Then I'm going to turn the detail here to zero that I'm going to add the detail scale here to five, the detail roughness to let's go 0.75, Let's go somewhere around something like this. There we go. Now the same thing that I did here with the noise texture where I had this mixed note and the noise texture be combined with this mapping note. I want to do the same thing with this wave texture. We're take this me, I'm going to take this noise texture, I'm going to go shift, put them here, that, there we go. And then I want to take the generated output of the texture coordinate here and put it into my node right here like that. And then I want to take the mixed node, take it into the wave texture, and now I'm getting so much more detail what's going on here. From here I'm going to go into my noise texture that I just added and do some small changes. Let's go here to changes to somewhere six, I'm going to go roughness, Change this to maybe 0.1 maybe. Let's go something like this. 0.6 let's go distortion. That's fine. As you can see, we are getting so much more ability now to control what's going on with our material versus just what we had when we were working with an image texture. All right, let's go on with this. We want to add some extra sharpness to these scratches. To do that I'm going to go shift A and add a color ramp in here. Now if I clamp down all the way here, you can see getting sharper lines. But the issue is I want this to be inverted. I don't want this to be black. I want this to be we, I need to go here. Click, flip color ramp, and then push all the way here. And push all the way like that. Now I get these scratches super thin. I can zoom out here a little bit more to control at some extra detail like that. Right now we have all these scratches happening around our measure, but we don't want them to be happening everywhere, we want them to have them at certain places. We need to break down scratch pattern that we have on our material. To do that we need to add a noise texture one more time. T, I'm going to push this a little bit down like that. I'm going to add a noise texture right above my wave texture here, like this. And I'm going to do a couple of changes to this noise texture. I'm going to change the scale to something like this to eight. I'm going to add much more detail. Let's see, roughness, we can keep it something like this as it is right now. I want to add a color ramp one more time. Let's just go shift a color ramp, there we go. And then I'm going to push this color ramp somewhere around here. This noise texture is going to be used to break off this pattern that we have right now here, so that the scratches are only appearing at certain places. Another thing I can do here is if I go here under linear, change this to constant, and then I'm going to push this a little bit more like this so that the falloff isn't visible. For instance, if I go under, as you can see, there's much more falloff and linear what we had before. You can see there's a very clear falloff happening between black and white. I don't want that, I want to have a very strict direct fall off, something like we have going on here. Now, the next thing I want to do is basically I want to subtract the values from here, from this value that we have in here. And to do that, I'm going to add another math node like this. I'm put this one into the value, I'm going to put this one into here. This is what I'm getting right now. I need to subtract. There we go. As you can see now, these strict lines aren't happening everywhere as we had them before because they're being subtracted. And so we only have them in certain places. Now, let's say you want to do some changes to this. You don't want to have these lines per se like this. You can go here where it says three D. You can change this to four D. This is going to now allow you, if you move this noise texture, you can change the look. You can even change everything here regarding these, these scratches. The same also goes for here. You can change the scale if you want, but I'm going to keep a distortion as well to add a bit more difference to your scratches, but I'm going to keep my settings as they are for now because I'm going to use this, what I have here as a base for later on from here. Now what we need to do next is simply connect all of this into our normal map that we've created here. I'm going to add a bump like this, drive the subtract here into the height. I'm going to go press control shift here. We can see that here are our scratches, but the scratches are happening on the outside. And we need to simply invert this. And now our scratches are happening inside. One more thing I'm going to enable the clamp here. Doing this is basically going to clamp the values 0-1 so that we don't have any negative values. The range is now basically from 01. Lastly, we also want to be able to drive our brush stroke as well through the bump here, through the normal. To do that what I'm going to do is I'm going to add another bump node over here like that. I'm going to take the color ramp from here and I'm going to drive it through the height over here. Then I need to mix these two bump nodes together. I'm going to use a mixed color like this. I'm going to push that one on top. I can push this one on bottom. That under mix, I'm going to put it now. I can control individually the strength of my. Let's say I don't want to have the brush stroke to be so strong. I can only want to have it like this. Let's say I don't want to have my bump to be also that strong. I only want to be like this here. Now with this, I can control those properties. I'm going to change the names here. I'm going to call this one, let's see, strength, brush, bump, strength. I don't call this one scratch, bump strength. This is going to be our base for our material. Like I said from here, we can do a lot of crazy things. Everything here, almost everything here that we change is going to affect our material in one way or another. But to summarize it, what we have here are three key things. We have our brush stroke that we built through here, and this factor here controls how straight or sharp are our lines of the brush stroke. And then this here base color controls the color of our material and this controls the color of our roughness. On top of that, we added here, the roughness nodes over here. We can change how our muscrave texture looks like. For instance, if we want to change the look of our roughness, we can give it a different look here. We can also change the strength of our roughness by changing this number here, there we go. Then over here we have our scratches. To manipulate our scratches, we can do a couple of different things. Let's say clamp this together. If we clamp this together, then our scratches become much thinner as you can see. Then if we get more or less scratches, depending on what we want to do here, let's say I want to have much bigger scratches. I would then push this and go like that. Or if I want to have only very tiny, thin scratches, I would push this and go like this. Then also from here, we can control the strength of our stroke. If we increase it like that or if we increase here, we can increase the strength of our scratches. And this is pretty much going to give us a lot of flexibility once we start texturing the metallic parts of our material. All right, this was a pretty long video, but I hope you'll learn something new here. This material is going to be applied to a couple of different things on our train. We're going to be, as I said, applying it to our windows here. Instead of having an image texture that doesn't have that much flexibility, It would be much better to have this material that's going to give us more flexibility and options in control over how we want our train metallic parts to look like. 38. Texturing Metal Objects: Now that we have our procedural metal material created, let us start applying it. I'm going to move this roughly half of my screen and we don't need this sphere anymore. So I'm going to delete that. Let's go to the first part that we're going to be tech shrink, which is going to be our window rails right here. Before we do that, there are a small few tweaks that I do want to do prior to it. I was looking into this model a little bit before and I thought, I think it's going to be better instead of having these rails stick out of this yellow, yellow metal part, let's just have them go inside. As a matter of fact, you could go and press G and then try to manually move this inside, and then move it a little bit down and then try to tweak it left and right. But I think the easiest way, especially at this point now, is just going to be to use the solidify modifier and play with the offset that we have here. If we just go into our solidified modifier and change the offset to say, let me see, five is going to push it perfectly inside in that direction that we wanted to go. Now we really need is to change here the thickness of this part. We can do that quickly just by going like that. I'm going to put it to 0.04 Now with the glass, we just need to add a solidified modifier to it like that. For thickness, I'm going to make it like a half, 0.005 I'm play with the offset. Put it to, let's see, negative six. I'm going to have to go more, negative ten. I'm going to need to go a little bit more. Just a little bit. Let's go negative 12, that offset. The reason why I wanted to do that is now I'm getting like these shadows here. I just think that visually this looks a little bit better. It gives a little bit more detail to the train versus everything being flat out and sticking out. This gives a bit more of that extra detail. Lastly, let us just change, see how we have a very sharp bevel going on here. I'm not a fan of that. What we can do is go here under our modifiers goble. We don't want the Bebl to be applied everywhere, we just want it to be applied to these edges. We're going to go into our edit mode. Press Alt here, hold shift, press Alt on the other edge. So we select both edge loops. Then press N to go under our transform settings and change the edges data for bell weight to one. This way the bebbles are only going to be impacting everything here that is in the blue outline. Now if I go into our Beble settings and we change from angle to weight, we can just go here and play with the amount and say, let's see something here and let's change the here to three, maybe four. Let's see, three. I think three is going to be fine. Is this part being impacted? I don't think this part is being impacted. So we're going to change the strength a little bit more. Maybe four. There we go. Now we're getting what we wanted. Just play around a little bit more with the strength. Maybe 0.01 I might want to go even lower. 0.05 something like that. There we go, This looks pretty good. Lastly, you can see how the edges here are a bit blocky. I'm going to add control on a subdivision. You don't need to, if you don't want to, but for my own personal preference, I do like that to be added here. We can see with this material here, we're also having a little bit more issue. There's still those duplicates happening. We didn't do the best job in terms of scaling, so we can just maybe, let's see, change this to something like that. Okay, let us go now to apply our metal rail part here. We can just go, here we go to press, we'll stop here. Pi shows me in the outline what I have selected here, the front rails. Let's add the metal like that. All right, so a couple of things. I think that it is a little bit too dark for my taste, so what I want to do with this metal now is to change the color a little bit closer to what I want. All right, to change the color, let's go here, under the color ramp and push this little bit more above here. Let's do the same with this guy, a bit more above here. Something like this. I think this is already looking much closer to what we have here. The next thing that I think it's too noticeable are the scratches. Maybe we should also lower or increase the roughness strength. I'm going to increase a little bit of the roughness strength like that. And then I'm going to play with these scratches that they're not so present. I'm going to go into the strength here. The scratches decrease them a little bit, something like that. I can also go in here and say, well, I don't want the scratches to be this thick. I could play with the thickness of the scratches, make them thinner. I can go here and say, well, okay, let's change type of scratches. Maybe one difference, so I'm going to play with the value here. I'm getting something like this. I also think that the brush stroke effect is a bit too strong. I'm going to push the brush stroke a little down, something like that. I might want to use these roughness part. Do you want to make them feel like rust? A little bit. I push this here, make it a bit orange like that. Perfect. We have this part of the rail created. Let's move on to this part here, which is the Bezier curve. Let us add the metal part here. But I do want to do changes to this material, but I don't want to affect this one. I need to create it as a duplicate of this initial material that we just played with. I'm going to go in here and select new material and I'm going to call this metal. There we go. I want to keep the brush strokes, but we can see here that because they're using object mapping right now, they're a bit wonky in my opinion. Instead of them being object, let's just push them to be UV instead. Now we get a little bit cleaner. All right? I think I might have overdone it with the redness here, so I'm going to lower the saturation a bit. I'm going, that's too much. I'm going to push this maybe a little bit here. I'm only playing now with the material that's applied here. I'm not touching this material here, by the way. You can see, let me change the hue. Something like that. Because here I really don't want to, I don't want to have much of that rusty feel and I don't want to even have much of roughness, strength, and I don't even want to have this much of a strength when it comes to the breast stroke going to have a much weaker breast stroke effect something around here. I can also play, let's see with the amount of the breast stroke because right here we're mixing it with the noise texture. So go all the way here, the breaststroke is gone. I push it like somewhere around here. It's still there but it's a little bit disrupted by the noise. It's not as sharp, which is perfect. I do want to add a little bit more, maybe roughness back to it, so I'm going to go push the roughness just a little bit more up. Now, we have our rail material. Maybe I want to add a little bit more scratches to the rail material. Now that I look at, I'm going to go here and increase the strength. That's the Btn, increase the strength of my scratches. And these are like they're okay but I want to have them a bit bigger. Let's just make this distance a bit here. Maybe push this a little back so that we can increase the amount of scratches that we have here. It has a little bit more of that damage going on. Let's see. Then maybe push this to make it a bit thinner, something like that. I think this looks pretty cool now. It has it's almost broken feeling. It's definitely been worn off. Let me just maybe decrease the strength so it's not like super damaged. Just enough like that. Yeah, that looks good. The two I don't like the fact that there's two by two going on, so it's just a bit weird. Just a bit weird instead of two by two going like that. It actually, yeah, it's also there. Let's just play with the W. See if we can maybe change that a little bit. Maybe the scale. Let's see if we can change it here. There we go. I think this looks better. Perfect. Next, what do we have next? Let's see, we can deal with the lights here. Let's deal with the lights and then also deal with the sign. For the lights. Let us go here. Let's, let's just use the metal that was used over here as our base. This is how our lights are currently looking. I'm not a biggest fan of this. I might change this. Metals like that. I created a duplicate. Let me see, metal. I changed the name of that one. Let's go a few steps back where I apply this. There we go, apply it here. Metal, there we go. And then duplicate it. That and then call it metal, light here. Really what I want, I'm going to use this noise texture that I have and just completely take out the brush stroke effect and have it only be like this, perfect. I'm going to apply the same one here. There we go. That good, I think I'm going to apply the same one here. I'm liking how that looks like. I might play with, let's see, we might want to play a little bit more with this if we push it lower, right? Something like that. Let's see, this is going to be my roughness here, so maybe I can increase the roughness here. I do want it to be metalish, more shiny, Something like that is going to be fine over here. We're going to be having this material applied for now. We can keep this as is until we start applying that material, which is going to come a little bit later. Let's see, what else do we have Here we, here we have this yellow part. We can apply the same yellow material as well. Let's go like that. I want to add maybe a little more thickness to this part as well. Let me just push this thickness a little bit more up. Something like that. And now I need to push this Y, push it a little bit more front just gives me a little bit of that extra dimension. A little bit more shadow perfect. Then where else do we need to apply our materials? We need to apply our materials here to this part, we can see that. Let's go to where do we have a close up of this? There's a little bit of metal happening right there. Unfortunately, I can't find a close up. There we go. You can see this part here has that metal material for now. We can just apply the entire thing honestly. But not this one. I'm going to use the front light. We can just use it for now, like this. And then we're going to apply the other texture onto this part later. Let's see, we don't have our wheels. We have our windows here that we need to still apply our textures towards. Let us apply them to the Windows Windows. I want to use the same material that I had here. I'm going to go metal. I think that was the first one, but we can see it's a little bit wonky, mainly because of a couple of things. How our topology is set is one of the reasons, but also how this set up here is we're going to be doing some changes for that. I want to also, again, create a new material. I want to call this one side window metal windows like that. Let me see now, what are the next things I want to do? Next thing I want to do is actually change how this is being mapped, I believe. Let me try to change it to object from UV. Let's just keep it object as a matter of fact. But I do want the brush stroke, which is here. I don't want to horizontally as it is going right now. I want to go vertically. To go vertically, I need to replace these values too. I need to have 0.1 I need to have this 100. Now it's going vertically. But then the scratches, there's a bit too many scratches for my taste here. Let's change the scratches and how they're being here as well. So we have the wave texture going on which is what's driving our scratches right now. We don't need this many of them. Let's maybe add stores detail scale. There's just way too many scratches overall. Let's go first to the material. Let's see, what can we do here. We can decrease the scratches strength. We can do that. We can play a little bit more. This here. There's less scratches going on then. If we increase this, then the scratch of strength is way too big. If we take, this is way too spread, we want to make them thin. Now we have very small, very thin scratches happening, which is not bad actually. There we go. See here where the wave tture is there. This is being generated perfect. There we go with that part. I think that looks pretty good. Let's go and see how it looks here. I do think maybe brush stroke is a bit too strong. Might go here. Brush strength just decrease it a little bit. Something like that. All right, I'll see what else we need. We need to apply the middle material to our wheels. We need to apply it also here. Let's just go middle side windows. I'm going to apply the same one here. I can go here, apply metal side windows. I can apply the same material here. Let's worry about the wheels now. Where the wheels, we can just apply the same material. Let's start with the metal one. This was the one that was applied to our windows on the front. Let's use the same one, but then it just changed the color. I'm going to call this one metal wheels. We just need to change the color here for the color. Let's have it be something more brownish. It's going to be bronze, something like that. And then we can use the same material here for this one here as well. Let's just go a bit more with saturation. There we go. And let's apply it also here, metal wheels. When it comes to the metal material that we just added, I think that's we can still add it here. I would say this is the last part. Now, I just use this one as a combination of a few. I'm going to use the metal up here and then I'm going to use metal front light or maybe metal wheel no metal site window. Then yeah, I'm going to keep this one as is for now. Later, I might change it because like I said, I don't even know what this part here is for now. I'm just going to have it be like that. All right, I believe this concludes this video for the metal texture. Next video we're going to be adding the textures over here, then here while we're at it, let's just add textures here to the doors. I completely forgot about that. There we go. They just use the same yellow material. We'll get to go. All right guys, 20 minute mark. Exactly. Almost. And I'll see you in the next video when we start texturing this part on the top and bottom. 39. Texturing the Top and Bottom Parts: Apply the top texture. That's going to go here, here, here. And I think also at the bottom, we're going to go back to our ambient CG website that we have right here. From here I'm going to go into materials, and then I'm going to select, let me see here. I'm going to go with Metal. The metal that I personally chose to go with, I believe it was this one here. Let me see. Metal 029 exactly. I downloaded this Metal here and I downloaded a two K version. So you can do the same. I already have it saved here. You can see I'm going to be redwoding again, but you just download it and then zip it as you did with the previous ones from here. I'm going to go and add that new material that I'm going to call this roof. Is it roof top, maybe? Top metal. I'm going to call the top metal like that. And I'm going to press control shift and use the node rerangular add on to do its magic, find a texture that you download it. Let me see Tutorial Textures. Here we go. This is where I put mine metal 029. I'm going to, let me see the color, the metallnsal roughness these four textures control while you select all of them and click Add. All right, next we just need to unwrap this material. I'm going to go press Tab, Select a press U and click Wrap. They should give me predecent like that now it is a bit too large. Next thing I'm going to do is change the scale of it. I'm going to just go somewhere like here. Then the last thing that remains really, is to get us to a color that somewhat resembles what we have going on here like that. I'm going to use this color here as a base. What I'm going to do is go into, let's just move this here. I'm going to go a shift, a color ramp like that. I'm going to add a color ramp right here. Then for this side I'm going to use something towards here. And then I'm going to use also something towards here like this that might make them a little bit darker. I think this gives me pretty good starting point. I'm going to apply the same material here, Top metal. There we go, I need to unwrap this. I'm going to press a U Unwrap. I think this gives me exactly what I'm looking for. I'm going to use the same material one more time. Let me just see here. I'm going to use it here as well here. The way I'm going to do this is select the area where I'm going to apply it. I think I'm going to select this edge here. Shift, select this edge. Then we have control. And I'm going to press plus on my numpad, like this to expand my selection. Now if you don't have this again, what you can do is select here and then go select More or less. And then control Numpad plus for more. I think if you press shift R. Yep. It's going to just like reapply the same thing that you did earlier. I think I want to have roughly this much selected. All I need to do now here is go under slot, add a new slot for this slot. I'm going to go Top Metal. Now. Here I'm going to go and press assigned. There we go. Lastly, we just need to apply the same material in here. There we go. If we want to play with the roughness of the material, I think that's what I'm going to do. I'm just going to add a color ramp right here. And I'm going to be playing a little bit with the roughness. Just clamping that color ramp. Not too much. Just a bit. I might make this a big so that we can see here. I think in terms of the first layer of texturing, we did a pretty good job. We can also apply the metal material here. I guess we forgot to do that. Let's just go here, put metal. I don't want that one. Let me see. Maybe front light. There we go. Now we're just going to conclude here. Like you said, if you like, you can play around with all of these textures yourself. Try to find the values that work better for you. But for me, I think for now this is perfectly good enough. All right, so you guys, in the next video. 40. Texturing the Windows: Almost done with adding all the primary layers of archittures to the train. The only thing that's remaining is the glass that's going to go here. And the material that's also going to go here, that is going to be a little bit different than the one that we put on here. To start off, I do want to do a couple of things up ahead moving into this part. First off, I was looking into it and I believe we're going to have to actually remove the solidify from our glass. If I take it out right now, you can see that it's going to get pushed like this. We're going to have to probably manually adjust it a little bit like this here. Then we're going to need to drag it down to go here. But there's a little trick that we can do so that we don't have to go like this. And the manually we can actually drag it into this axis, this alignment that it is right now. If we go into our edge select, we select one of these edges. Here we go here under our global and we add a new orientation. We call this pretty much like that. All right, now I believe if we have selected the new orientation, this one here, and I press Y, you can see that the Y axis now is a bit better aligned on this. And this is helping me, so I can go y maybe a little bit more. I'm holding the shift, I'm going to go z and then go a little bit back. Just so I have it nicely added onto all of my parts in here, I might need to, let me go back now to the one here, global and I'm going to go x and then just try to maybe a little bit closer to each other. Let me see if this is because there's a little bit of that extra room here. I could probably close that gap by adding maybe some thickness. Let's see if I add some thickness here and then I play with this offset. I think this is going to help me close the gap right here. We've averted one issue. The next one is this one here. We need to do the same thing here. I'm going to take out the solidify from here. But I think for this one it should be fairly easy. If I push this X in here and then just hold shift. I just need to make sure that they all we can probably go into our solid view and then just make sure that there's room X like that. Let's go check if everything is looking okay here. Now with this side, we probably go into the way we're going to do this, see is we're going to need to reset the origin point origin to. Let's go shift if I go like this and now object set origin origin to three cursor. I believe that should push them right up that spot. Perfect. All right, I think the next one that we need to clean is this one here with the solidify. If I take out the solidify from here, let me see. Maybe if we take this like this in our edit mode and then go X and then we just inside. I think that impact also the other end here that we have. So this is going to be pretty good Exactly because now if we're in the tit mode and we're changing where our mesh is, our origin point is going to stay exactly as it is. We can do the same trick here, we can take out the solidify, then go shift a x, then just push it somewhere here. I think both of these sides are going to work just fine. All right, I think we've done it. I'm going to explain a little bit later why it is that we just had to take out the solidify. It will have to do with adding a droplet effect to our glass. Let's start off with adding our glass material here. I'm going to press New. There we go. Instead of having it be like this, I'm going to principal SDF, I'm going to press Cape. Delete that one at a glass SDF material, I'm going to connect it here to the surface. Now I just want to add the same material to all of these guys. I think what I can do is just press. Press this one, press this one and press this one. This one is being last control L link materials, now, they're all using exactly the same material right off the bat. This is starting to look pretty good. What I want to do next, I need to change the IOR of my glass. The index of refraction. The index of refraction that we're going to be using is, I believe, car windows that I found. For car windows. The index of refraction is 1.51 That we're just going to change it here. That's going to add a little bit of distortion towards how the light passes through here for a glass. But we're going to add a little bit more extra distortion by adding a mus grave texture. But first we're going to add a bump, one right here, and then we're going to connect this bump with the height to a musgrave texture. This thing is going to drive a little bit of that extra distortion, but what we need to do is press control now to add here our texture coordinate and then go object connected here. Now we just need to play around a little bit with our mus grave texture. So I press control shift and left click on it and then play around with the scale. Let's see, What I want is something more, this and then maybe detail like that dimension. Let's see, this is completely up to your own taste by the way, so you don't have to have it exactly the same as me. What I'm going to do next is I'm going to go here, play with the four D part. Let's think something like this is going to give me a decent distortion. So if I go into my glass and then here under strength I lower this. Something like this. Something like this is giving me too much even for my taste. So maybe we go lower. Just a little bit more. Yeah, Something like this is not bad at all for now. Perfect. The next thing I want to do is I want to create an effect that makes it look as if there's dried water droplets on this glass. Because this train, it's driving on water here. It's driving, I believe, water or sea salt water maybe. I don't know. But we want to create that effect that it's driving on it and there's like water splashes that have dried out here. Almost like salted water that has dried out. And for that, we need to add a surface imperfection. And we're going to find that surface imperfection is back in our ambient CG site. So I'm going to go here, I'm going to open ambient G.com here on the materials I'm going to type in, imperfection is going to give me a couple of different surface imperfections here. But what we're looking for is something in the line of these guys that we have here. I think this is the one that I used surface imperfections 013, I used a two K texture, that's what I download it and then I zipped it so you can do the same. Once you're done with that, we're just going to go and add that surface imperfection here. We're going to go shift a search image texture. There we go. I'm going into open find my texture. It's this one here. Surface imperfection, color. There we go. Now I'm going to connect this to the roughness. Nothing happened. We need to add a text coordinate here, Control, we added a texture coordinate, we added a UV one. But if I go and control shift, click on this, there's still nothing happening. Why is that? Well, the reason for that is we need to unwrap these windows here. I'm going to go here in my front view, I'm going to go shift A and then click Project from View. Now I believe if I go under surface imperfections, we are getting this here, let me see If I go rap, I might go with wrap, but we can see that these two look exactly alike. And the reason for that is because of our mirror mirror modifier here, we need to apply our mirror modifier and then go and unwrap one more time. There we go. And we're going to need to do the same step now for all of this here as well. I'm going to go here like this. I'm going to press shift A rap. Then actually I need to apply the mirror modifier. I just did the same mistake. Shift on wrap. All right, here we can go and apply the mirror modifier and we can do the same one for here we need to do it twice, shift a rap and shift a rap. There we go. Now we can see we have our textures wrapped. Everywhere here. If I leave now, and if click control shift and click on this glass, PSDFhuh, we can see we are getting our stains on the glass. Now this is looking pretty good. But what I can do more to drive this a little bit better is I can add a color ramp. This color ramp, now I'm going to do a couple of things. I'm going to increase the roughness so it's not everything fully dark like this, so there's still going to be some extra roughness like that. And now I'm going to start pushing this white value up to increase the strength of these smudges as you can see here. There we go. If we had a solidified modifier applied to this. Now if I go under my solidify and if I increase it, you can see because the solidified modifier adds thickness, then this smudge would appear both on the front side and here on the back side. To avoid that issue, we remove the solidified modifier from our glass. Even like this, this is looking real good, I would say excellent. Now there's a couple of more things that I want to do. First off, I want to play around with the size of this. I want to go here and make them a little bit smaller like that. But then this introduces another issue, which is the repetition. We don't want to have repeating textures here to tackle that issue, what we can do is simply select everything here. Shift to duplicate it. Shift A, add a mixed color, Go into here. Now we're just going to mix these two textures. Something similar to what we did with this yellow material. For this one, what I want to do, let's go click shift here. On the mix one I want to do, I want to change the scale. Maybe make these ones bigger. I'm going to maybe rotate it a little bit. That something like this and then maybe location play around with it just so I add a little bit more variance to it's. So if I go now on my glass BSDF, we're adding a little bit more variance to our smudges that we just added. But then now what about, Well, I don't want to have these smudges go all the way up, right? I want these smudges only to cover maybe the lower top part because not every drop is going to go all the way up. We need to add a mask that's going to tell blender essentially, hey, add these smudges only up to a certain point that we need to add another mix. Because we're going to be mixing this now with a gradient texture. This one here. I'm going to press control. Let's see what this gradient texture is now doing. Control, shift, click. Well, we can't really tell what it is doing, but there's definitely a gradient that's happening here. We need to change this gradient from generated, I believe to object that we, well, let's do this gradient on this object, all of this here. But then we need to also change the rotation. What we want is the black to be all the way on top. And then we want the white to be all the way on bottom. I'm going to play around with the values here up until I get something close to this. I need to play with the rotation a little bit more. I think this is giving me about what I would want. I can play around, let me see with the scale. There we go, to maybe add a bit more fall off, not too strong, just a little bit more fall off, maybe like this. And then location go a bit more up now that I get a little bit more, maybe something like that. Let's see now, what is this going to do if we look at our glass BSDF? Well, right now it does do a little bit, but you can still see that there's stuff happening here. The reason for that is because how our mix node here is working. We need to change this from mix to multiply. I believe this actually changes to multiply. We need to push this all the way here to the top like that. There we go. Now everything that's black is not going to be obviously shown here. As we can see, everything that's going to be here is going to be visible. The only issue is right now, we need to bump up that contrast a little bit, because right now it's not too strong as we can see here. If I go under my color ramp, and let me add a color ramp one here, let's see we can push this one to increase here the strength. Maybe we can push this here to add a bit, something like this. Actually, let's take this one out. I believe the color ramp is actually supposed to go here, if I go like this. This is what I'm looking for here. There we go. I want to add a bit lighter color over here and push this white, something like that. There we go. This is what I'm looking for now, our smudges. And we can play around with the strength, we can push this to clamp them up a little bit more. We can go here under our gradient and we can just simply say, let's decrease them and push this a little bit lower. Now, these smudges are only you can see happening up to a certain level. Let me see how far the grading is updating them. That's pretty good. Let's see here, what do we have? We have this. That's pretty good as well. Now that is doing a pretty good job now for the last part is let's add some droplets onto it as well to run the droplets. Let's make some space here. Let's push this a bit here. We're going to be combining some stuff with our bump that we have over here. Let's take a look also here, how everything is looking. I think we could probably reduce strength of this. It's way too strong. Let's see how the smudges are looking here. Seems to be looking good. Perfect. Let's go now and try to play with adding here an extra bump. To do that, I'm going to go shift a image texture. What I want to add is the normal map that we just got with our surface imperfection. This one here, I'm going to add a normal map to drive this normal map, I'm going to use a bump like this. I'm going to connect, let me see if I go color to the height. I'm going to go color to the normal first. And then let's see first what's going to be happening here. All right, this looks very messy. That's not what we want. What I want to do here is actually put a color ramp like this, and then plug this color to the height like that, and add a control UV. There we go. This looks good. Now we just need to clamp down these values. Let's see what's going on. All right, we're getting some droplets, you can see them here. You can see them on top. There's definitely some droplets happening. Yep, we can see those droplets. Nice. They're looking pretty good, I would say. But one thing I want to change is I want to add another mask. And I want to also combine this. Let's go in here, combine these two mix colors, then go into here. And then, I believe it wouldn't be, it would be a float. Let me see. Or is it Let's combine this here. Let's combine this here, because it's a bump, and bumps should be floats. Let me just check. All right, let's go back to color. Looks like I was wrong. There we go. That works fine. But there's one more thing that I want to do. I want to again, add a bump that add a mask that only tells it to add the water up to a certain point. To do that, I'm going to go here. I might want to mix this one more time. Let's go and add where I think this is my mask that we had and I'm going to try and combine this mask into, into the factor. Now we should be getting on droplets, there we go. You can see here on this side, there's only droplets happening at the bottom. Let's see here, do we see anything? There's some droplets happening here as well at the bottom. There we go. We have our glass right now like that, perfect. But if you want to add a bit more roughness, for instance, to your glass, what you can do here is just drive this little bit lighter and this is going to the roughness, I'm going to have something like that might even push it lower. Because then if I put it too much, this part here is going to start to show off. I might want to push it lower because that is also the mask driving this here. We do need to be careful about that since they're connected, but I think this looks pretty good. I'm going to close this video here. In the next video we're going to be building out, let me see, we're still missing this part here for the train. Once we're done with that, we are pretty much done with the first layer of our textures. There's still the sign here that we can add. We can do that once we finish this part. That's to be fairly easy, but that's pretty much about it for now. All right guys. I'll see you in the next video by. 41. Texturing the Lights and Front Sign: For this video. For this video, I want to finish off the first layer of the textures for the train. That includes creating a texture for here, one for here, and adding this sign here in the middle. And I think we can do that all in this one video. Let's begin. I'm going to start off by this material here and we're going to be creating some, a glass that somewhat resembles this here that we see. Maybe a little bit more controls for that. We're going to be creating a procedural texture. It's going to be really simple. We're just going to take this principle SDF out. Going to shift a type in glass, so we're going to use a glass BSZF connected to the surface like this. Now I'm going to change this to say 151 to add a little bit more of that distortion. These lines essentially, we're just going to drive through the normal, We're here, I'm going to create a wave texture, but right now it's not looking good. I'm going to press control as well to add my mapping and texture coordinate. Because I need to now add a bump to actually make this work. Because my wave texture needs to go into here, I'm going to put it factor into height. We can see that these lines here are now being showcased like this here. And they're almost similar to what we have here. I can control how many lines I want. I can go like this. There we go. Now the next thing I want is I want to add also some horizontal lines to this. In order to do that, I'm just going to go here, need to combine these two. Even though right now this one goes vertically the same as this one here. If I change this x to y, now I'm getting them like this. I can also go and change this, maybe to Saw. And it's going to give me a much thinner line here. Now if I go back in here in order to connect these two textures, all I'm going to do is add a math node like this. Then connect these two like that. I think I can change this to multiply, there we go, and now getting these lines backing, but I don't want this much detail. Instead I'm just, let's see, I want to change the amount of these guys, the vertical ones. I also want to change the horizontal ones to maybe just a little bit less. Let me see how many we have. Yeah, I just want to go like maybe something like this. Maybe two or three. Yeah, three might work best. There we go. Now it has like that old car light look, which is what I want. We can also add one rounded one to go here. For that, all we need is let's just duplicate this wave texture here. Let's connect it. I think all we need to do, if I'm not mistaken, is let's see if we change to Z. There we go. So we're getting this now. I want to decrease the amount again. Let's see, something like this. If I change it to Saw, it's going to get this again, sharper. Look, let's add a multiply here. And let's now connect this factor into here. And let's press control Shift and click on our glass BSDF to see how it looks like there's that extra distortion happening here. Let's see if we change it to sign. It's a little bit bigger. Maybe I want to, I want to add maybe one more here. There we go. Perfect. Now, if you want to add some light to this, what you could do, let me just check. We could probably combine this with an emission shader. If I tap in here, tap in emission, and then I go mix shader, We plug this into here. Now this is being emitting light, but we can then reduce it to just give it some extra extra light brightness. And I don't want to have this fully white color. I want to have maybe something that's a little bit more yellowish, maybe something like that. Maybe we can also add, let's see, we can add some roughness. To this entire material. Let's see. So something like this, so just a little bit of that emission, let's say something like that. There we go. I think that looks pretty good. Perfect. There we go. Let's make it maybe a bit more lighter but I want to change the hue of it to maybe a bit more yellowish. I guess this works pretty good then. Let's see here. Let's go with this slight first because for this, all we need is to just duplicate this material that we created. And that's not the one. What is this? This is, if I'm not mistaken, surface imperfection. Color ramp. Color, ramp. Wait a second. Oh, that's the smudges. Okay. We actually need to call this glass, I guess, material. I forgot to call it glass. Window, glass. There we go. And then this material we need to rename and call it, let's see, light main. If I go here, what I want to do is add light maine like this. But I'm going to duplicate it and call it red because this one, if we look at our reference image here, it has that red color here. All we need to do is go into our mission, change it to red, can play around with the strength. If we want, add maybe some extra emission here. Maybe we can reduce it. Maybe it's too strong. Just something like that. As if it's turned off right now. Perfect. Then we just need to go in here. Let's go into the front view. What we want is to add a texture for this. Now, I already created that texture as an image. The way I did this is I took it into Photoshop and then just tried to by hand draw this sign with this background. What I got was essentially that material, as you can see in here. I did this essentially by hand and then I added some dust smudges to it. We're going to be using just this image that I manually created to drive this sign here. The way to do that is we're just going to go here, We're going to select this right here. We're going to select this space. We're going to go into our slot and add another slot. And we're going to create a new material here that we're going to sign. Click a sign here. Go into new. Now we assigned a new material to this space, to that face. I'm just going to dragon drop this ji, there we go. I'm going to connect it to my base color. Right now, everything is going to be a mess. Because I need to go here and press to unwrap immediately. In my case it aligned it pretty perfectly. I can press control also for my mapping coordinates if you want, but if you're having issues with it being mapped, all you need to do is make sure that you have this face selected. Once you apply the texture, go into your UV editor and then select that face here. And then just try to map it out accordingly, it fits. You can also scale it maybe a little bit if you want to make it smaller, but just be careful so that it doesn't repeat. You have to be careful in how much you scale. I think this is roughly around the maximum, you can go like that. Now in our shader editor, we just want to add maybe a little bit more detail so it's not so flat. Essentially, Starter is what I want to do is I'm going to use this to go into the roughness, but now I need to, I want to add some more extra detail to this roughness. So I'm going to use a color ramp to drive the black and white values that we have. Everything that's black is fully shiny and I don't want it to be fully shiny, but I want it to be somewhat, then I want to drive this maybe something like here in the middle and then this one also here, there is a little bit of these smudges, see these lines. This is what I meant by just be careful on how you go in your UV, so we're going to need to make it smaller. There we go. Then let's go back into our shader editor, let's see how this is looking. All right, so this is pretty good already. I'm liking how this looks like. But I want to add for this text to go out, give it a bit of an extrusion. An easy way for me to do that is just going to be by connecting this color into the normal. And I need to add obviously a bump, otherwise it won't work like this. I'm going to connect it to the height. Now, this is obviously too strong. Let's just lower down the strength a little bit. Let's see how our bump is looking right now. You can see right now it's working as an indent. We need to invert that indent like this. Let's go here. This should give a little bit of as if it's popping out. We still need to play with a few more values here to make it really work Well, the first thing I would say, let's see if I play around with the distance and the strength I get that I would go now and add a color ramp actually, and control the color ramp that goes into the bump. Let's see if I play with this color ramp. There we go. We can see now what's happening here. I think everything that should be in black is going to be indented out, or maybe everything that is not in black should be in. Let me see if we push this closer to here. If we push it like that, yeah, you can play around with this at your own pace. I'm just going to try to do something really quickly here and see what works best for me. There we go. I think something like this is going to work best for me. So I'm going to zoom in here, so you can copy if you want this exact look, this is what I've made. It gives it a bit of that worn out look as has some parts are shiny still, some parts are. You can play around with the strength if you want here. And so this here then would control how much of it is clean. If you push it all the way here, you'll see that then the sign is much cleaner if you push it all the way down, the sign has grutch to it. And then here obviously, we can control if you push it all the way down, we add the shininess. If we push it all the way up, the shines is a little bit gone. How strong you want to clamp that shininess down? There we go. I think we are done as it looks. We are done with the texturing part of our train. You can still play around with some of these values. For instance here, I think my strength maybe of emission is too strong. I just want to give it a little bit, something like that. Just so it's not like fully dark if I have it like this. So now it has just a little bit of that extra light. You can go here, the glass maybe to glossy here on the ends you want to add, maybe that extra roughness. What you could do is simply, let's see where this is connected to our roughness. You can more like that, but then you reduce the detail. What you might want to do is then go here, maybe more up. Now the glass is less glossy, it's a bit muddy almost. While it still remains all the detail. Yeah, you can play around with a lot of stuff. Here we are fully done with the train. I'll see you guys in the next video when we start adding detail to the rest of the environment. 42. Texturing the Fence Part 1: For this video, I want to start adding some textures to this fence. First of all, I'll begin with texturing these guys here, and then we'll move on to the rest of these planks right off the bat. These plans here. As you can see, they're all connected. And I think at this point it would be better if we all had them individual planks. Instead what I'm going to do is I'm going to go here on my outliner with my mouse and press a full stop, which is going to show me where this wooden plank is. Then from there, what I want is to simply actually add first a new collection. I want to store this inside a new collection. I just press Click out of a new collection. I'm going to drag this new collection here in the fence. I'm going to drag this wooden plank inside this new collection. I'm going to call this wooden plank vertical collection. That's a very long name From here, all I'm going to do is well, I have my wooden plank selected, press a select all of them, and then I'm going to press P, which is give me the separate menu options from here. I just want to separate by loose parts because they're not really connected. They're all distance from one another and they don't have any connection point. Loose parts is the way to go. There we go. Now we have all of these separated. This is going to help us centrally when we start Turing, because we're going to need to individually map out textures for all of these plans to be a little bit different. Because as you can see here, there's a couple of challenges that we are going to be facing once we start texturing. The first one is, well, there's technically, you could either find a texture that looks identical exactly like this online, which is probably going to be very hard, or you need to find two textures that can give you this type of look. In our case, that's exactly what we're going to be doing. We're going to be trying to find two textures that are going to give us this look. We need like a painted texture that has almost like this paint peeling off, which is going to give us this side here. But then as you can see, there's also this edgeware that we see here on this side. And for that we're going to need to have some, a pure wooden texture. And then we're going to need to combine those two. For starters, what I'm going to do is simply go here under Poly Haven. I already know which textures I want to pick. If you don't want to go and search for these textures with me, you can just get them from the resource folder. The first one I believe is going to be, let me see if I go through the wood. I believe it is this one blue painted plex. There we go. This is the texture that we're going to use for the painted part. You can already see in our benefit, this texture has a peeled off paint like whether it off paint effect, which is pretty good. But then also to drive this extra here, I'm going to also download one more texture if I go here under B and CG, and I go wooden. I scroll down. Let's see, the one that I found worked best for me was, I think I might have missed it. Let's there is this one here now. I know this one looks green here, but actually when I applied it, it wasn't that green at all. I think it's going to work out pretty good for us. So this one is called Wood 065. You can download both two K versions of these two textures or you can just get them from my resource file that's included in the Storial. Now we're going to begin texturing. I'm going to go here, prezi, going to my rendered view. There we go. Then from here I just want to start add new texture. I'm going to make this smaller so it doesn't take up so much on my screen. I'll just put this here as a reference like that. From here, I'm going to start by pressing Control Shift. I'm going to go into my Textures folder. I already have mine here. I'm going to add the diffused, the normal and the roughness. There we go. Now this is what we're getting out. We need to properly map out our texture to this individual model. The thing is, we could do it by playing here with the scale and maybe the rotation, et cetera, but then we're not sure that this would work on each one of all of these. If I go now, for instance, if I shift click, all of these guys, let me see, here, here, and here. Let me just make sure I have all of them selected. I'm missing one, it looks like I'm missing one. There we go. I need to go from here to here. There we go. Then I'm going to select this one as the last one. Just make sure that all of them are dark orange. This one here is yellow on the left side. And then I press control L and go Link Materials. This is just going to take the material that was applied here and then link it all the way across. You can see if I go for instance. Let's say maybe we increase how it's scaled. We're still not getting the desired outcome. I mean, it's starting to look okay. But then you can still see that it's being very poorly stretched. So what we need to do, I'm just going to reset this all to one. I clicked and then dragged my mouth all the way down and then selected one. Now it's all one. What we need to do is we need to unwrap all of these guys individually. That's how we're going to approach this. The way I'm going to do this is I'm going to go here into my edit mode. Press A, and then I'm going to press U, and then I'm going to go and say Smart UV Project. That's what I'm looking for. I'm going to put it in an island margin of 0.0 Ten, and I'm going to press okay. So what this is done is if we go here and if we go into our UV editor, this is created. A UV map, essentially is under wrapped our texture and each one of these face, as you can see, coincides. Let's select everything coincides to one of these ones in here. If I select this one, this one, this one, they all coincide to one of these faces. What that means is, if I select all of them here in our unwrapped material here, all I need to do now, for instance, is press R, press R. And then control so that I can rotate it in increments. And now I'm just slowly rotating and changing how this texture is going to be mapped out on my unwrapped material from here already. Now it's starting to look much better. What we need to do next is just clean up these edges here a little bit. What we can do is we can simply go and maybe select this one here. Now I know that this edge is coming from here. I can press here. I can press the letter L, which is going to select this entire island. I can just press maybe S to scale it down a little bit so that we try to, we try to avoid any of these lines in the middle. Might need to do a little bit more. Let's see, a little bit more here. We might need to do the same here. Yep, I need to do the same here. So I'm going to press L. I'm going to select this one because this one also got disconnected, I believe. I'm just going to do it one more time here. This is already starting to look much better. I'm I'm not going to worry about the backside because the backside isn't really going to be visible. I'll just focus on the front here and these sides here. I'm going to press here. I'm going to press, let's see, A. So this one is this. I'm going press L, then I'm just going to push it like that. For this video, I'm only going to be focusing on adding the first picture. And then in the next videos, we're going to be adding the secondary layer. For now, all I want to do is go through all of these here things and add a primary texture specifically for these planks. We're going to be combining two textures, but for instance here, and I believe also for here, we can survive with just having the same one texture. What I'm going to do now is I'm going to repeat the same steps. I'm going to do it slowly here, one more time so you guys can follow. And then I'm going to speed up the rest of the steps once to the point I'm done with all the planks. Let's go and do this one again. We go into our edit mode. Press A to select it, and we can see right now how it's being mapped. So we don't want it to be mapped this way. I'm going to press you to unwrap and I'm going to go Smart UV project. And then just press okay, that did not do it. That's weird. Smart project. There we go. That was weird. For a second. All we need to do now is just press a Let's rotate at this time in a different direction, so we get a bit more variance. I'm going to push this somewhere around here now. We just need to start mapping it all out accordingly. What I can do is just press L, make it smaller, Put it here, make it smaller, Put it here. L scale, press L now is going way more faster. And this one probably needs to go somewhere here. Let's see how this looks on top. There is a bit of a issue here at the very top. Let's see, this one is coming from there. This one is here. Let's try to put this, maybe try to make it look closer to this as possible. Think something like this is going to be fine, especially because we're going to be at such a distance, it's going to be barely visible. But now we have this plan going on here, that's pretty good. I think for the next one I want to have it completely peeled off. For this one, I'm going to do one more now, and then I'm going to speed up for this one. What I want is to go again, Unwrap. Not unwrap Smart UB project. There we go. I want this front part to be having this super peeled off. What I'm going to do is I'm going to select everything, rotate it, put it somewhere. Let's see here. I'm going to take this front part, which is this one here. I'm going to take it and just put it, let's say somewhere here, lower. It's mapping out right about here. I think what we can do is maybe we can select everything here. Let me see If we press into select mode Y zero. Straighten this part out. Then we can select here Y zero, just to straighten it out. Then we just go and we need to deselect this one. There we go. Now this one here, we have like this super worn off material. Let's see, we might want to make it a bit bigger because as you make this bigger here, you can see the material becomes actually smaller because it's spreading through a much bigger surface. If I make it smaller, you can see that the material here is bigger. Because it's just going on this little surface here that you see. If I make it bigger now, it's taking a bigger surface. All right? I'm just going to go like this for this one scale scale, go like that and this is what we have so far. All right, moving on now, I'm going to speed up the video. I think this is going to be my final one. All right. Smart UV project, there we go. Smart Project, there we go. Sometimes I actually rotate like on the opposite side like this, Just to make it, like I said, a little bit different from here. I'll just take these two, put them in here, even go side. This one, I'll put it here. Let's screw that for this one. I might actually put it here for now. And then I'm just going to push these guys here. And now I'm going to just take this one and put it right about here. There we go. I think we should probably map out it also. This top part a little bit better. Let's see what works better for it. Something along these lines is going to be fine. There we go. We've just finished texturing this part and then in the next video, we're going to be doing the same thing with these guys. Here, we're going to be applying this first layer of textures. 43. Texturing the Fence Part 2: Next on our texturing to do list, we're going to tackle this long plank here. Now I'm thinking maybe we're going to need to separate it, but we'll see when the time comes. I'm 100% sure we might need to separate them so they're not one large object, but it might actually work even if we don't separate them. So I'm going to start off by going into my let's see Shader editor. I'm going to go here under the material that we just recently created. We need to actually also rename this material. We're going to call it, let's see, blue, blue at plank like that. Right off the bat we can see this doesn't really look good right now. We could maybe, let's say go here U and then unwrap this as we did with these planks here. But then if I go into my shader Editor in the UV Editor here, and then let's say I select everything, I rotate it like this and you can see right now it's very pixelated. Even then, if I scale this so that I make it less pixelated and I go, let's say, to something like this, another issue occurs and that is the repetitive texture. We can see here this is being repeated, and then here also this line is going to be repeated because this is so long it's going to be repeated because we only have so many things here to use. I'm going to undo this a couple of steps. Instead of approaching this through a UV, I'm going to go into my shader editor. I'm going to duplicate this plank. I'm going to call this one paint a plank. I'm going to call this one long like this. I'm going to go use object instead of vector. Now what I'm going to do is just rotate, I believe. Let me see this by roughly 90. All right, from here I'm going to maybe do a little bit of tweaking, just so I get rid of this line here, maybe I can play around with the Y location. Let's see. Get rid of this is why, this is why I might need to actually separate. Because right now we're having this issue. Let's see. Maybe if I play around with the scale, I'll be able to get rid of it. Let's see now how it's going to look like. For now. I'm going to keep it as is, even though this part here is a bit potersomet'hfI, push it up, then it comes almost there. Maybe something like this for now. But the issue again, as I said, this is still very long. Because it's very long, you can see that this texture here as repetition. Like for instance, if we look at this line right here, we can see that it's being repeated over here. Again, we, we did a similar thing as we would do when UV and wrapping when we were playing here. Except this time we created it through these mapping controls here on our shader editor. The next thing that I want to do is how can I get rid of this repetition? Well, one cool trick is we can just do the same thing that we did here, right, where we mix two of the same textures together and then just try to blend them and change the locations to get rid of some of the repetition. We can do the same trick here, only this time we might even use three textures. As a matter of fact, let us just take all of here, all of this here. Shift D, I'm going to add a mix shader like this. I'm going to push this here, push this into the mix shader. Combine this here, then I'm going to control shift on this one. Just so I can see how this one is projecting here. I'm going to maybe play around with the location. Might even change the scale. Let's see, I'm going to increase the scale to something bigger, maybe something like this. And then play around with the location. Yeah, now that I have something like this, I'm going to try to combine these two. So these are the same textures, they just have different positioning as you can see here and here, right? How these two are being positioned. Now I need to create a mask, and as usual I'm going to now use a musgrave texture. And this musgrave texture is going to be used to simply drive where this one is going to show versus where this one is going to show. To create or to more manipulate this mask, I'm going to go here, press control. I'm going to put this into object so that have like this generated. Then I'm going to add a color ramp which is going to be used just to clamp down those values to make them a bit stronger. Because right now for instance, let's say, let's say I increase the scale to say something like this. I drive the detail. Let's say all the way up, I lower the dimension. And now I'm getting this look, which is great. But I want to clamp down those black and white values a bit more. I'm going to press control shift here. Now I can see as I'm moving this grading, I'm clamping down these values. I'm making this mask much stronger. Let's see how this is starting to look like. All right, for instance. Let's say I want to move this here, let's see how that's going to impact. You can see now we're breaking down that repetition. We are introducing still this issue where we have this large line. I think the best way to solve this large line for now is just to play with the scale. Maybe increase the scale a little bit until it's not visible on both sides. This helps, but then it's being visible right here. This is where I said that we might need to play around and maybe separate these 22 planks, make our life a little bit easier, but this seems to be doing a decent job. Let's see here. Yeah, I think I'm going to separate these two planks and then maybe apply the two textures individually, because that way it's just going to be less of a hassle right now moving here and then changing this one, and then go here. Let's see here. Changing this one just to break down the repetition isn't really doing a good job. Because then again here, it's just so long and it's a bit annoying. So what I'm going to do is go Shift. I'm going to press here. I'm going to press here while holding Shift on this one. And press L one more time. It's not. Let me select one more time. There we go. Now that I have both of these selected, I'm going to press last time, we separated by loose parts, but this time I want to, separated by selection. I'm just going to create this and see this one and this one. There we go. I have two planks. I'm going to focus on this one here for now. First, I think on this one I actually did a pretty decent job. I might need to lower, let's see what we can do here. Yeah, don't worry about the top one because the top, on the bottom one, because we're going to probably be changing that texture. But for now let's just worry about this one. Okay, let's go back into our muscular texture and see how much space we're taking. We can see that one texture is being all the way here, the other one is all the way there. I want to maybe add more diversity between how those textures are being blended. Just so I can break down the obvious, the obvious repetitive texture parts. For instance, right now I think doing a pretty decent job, but I might want to make this even stronger. But been adding a little bit of the blending just so they blend a little bit better perfect. Then here I might want to, let's see, experiment with which one I want to be blended with that one there. Let's see, maybe we have one that's completely full and then we have this other one. Let's say the broken. Let's go here. And then move this one, then this one is going to be the broken. Now that we mix these two, we get the idea of where we want the broken parts to be versus where we want the fixed parts to be. Right now, I believe the one that is white is being from the bottom. So those are the broken parts. I might want to go, maybe do something like this. Have less broken parts, more fixed parts like that. And I think this helps me break down the repetitiveness a little bit better. Perfect. Let's just see how everything is looking down from this angle here. This side is looking pretty good. Okay, We have a little bit of an issue right about here. So we might need to increase, I believe the bottom one. Let's see if I'm right. Yeah, I was right. Just push it maybe a little bit down. Let's see how that we got inside our train accidentally. What we can do if we want to isolate this, we can just press and then go View Selected By. This is because we're so close. Let's just see how this looks. Okay, there's still some repeating parts as we can see this part here. But we do have it being broken off every once in a while. Maybe it's not going to hurt us that much in terms of noticeability, okay? Now I can see it way too many times. If I want to push it a little bit lower, it's not so visible. Let me try to break it. Let me try to break this part actually. Then we might want to do, we might want to do just something like this where we cover it. There we go. Now I added like an extra cover on it that seems to be doing a decent job. I might want to blend this together a little bit more. Maybe one side a push this one a bit. Somewhere around here, yeah. All right, so we broke down a little bit of this repetition. We've introduced this issue, now we're going to need to go up. Push this up here. We're going to need to maybe increase the scale of this one. Let's see, just so that we don't have that. There we go. I think this is going to work fine, especially because we're going to be at a distance, this is going to be fine. Let us now try and texture the bottom one. I'm going to, again, selecting it and then pressing forward and then just seeing what we can do here. For this one, essentially what we need to do is the same thing, just make another texture. I call this one quite literally bottom. That I don't have to worry if I do any changes here now that those changes will affect anything at the top. So let me see. Everything seems to be going pretty okay up until here. And let's see, let's do check up one more time how this looks like from our scene. This is looking pretty good. Perfect, realistically. I mean, this is looking good enough already. You wouldn't even need to potentially add these edge wears that we have here. But we do want to break off the feeling of the same texture. At least having it here on top, and maybe a little bit here on the edges is going to help us. So that's what we're going to be focusing maybe later on, but next on our repertory list is going to be Turing. These guys here, and these guys are actually going to be easy. And I think that we can even fit them into this video right now. All we really need to do is find the wooden planks. Let me just see they are from here. Let's go to this one sign pole went, see we have, there we go. This is what we're looking for. We're looking for these wooden planks up here and these are these guys. I think for them we really can just go and add this. Then maybe play around with how this is being wrap. So I'm going to go smart you project. Okay, I'm going to do all of these, I'm going to all of them. I'm not 100% sure if this is going to work and apply the same plank material. Let's these guys go control L link. Yeah, link material. That's what we're looking for. There we go. What I might need to do now, maybe just change the rotation, let's see. Nope, we don't want to do that because that's going to impact everything else below us. Maybe what we're going to do is let's go like something like this. Select all of them like that and go and wrap. Okay, now we need to probably rotate everything that we've unwrapped. Let's go to the UV Tor, Select all of them and then just try to do this and play around with each of these that has been unwrapped, maybe something like that. Something like this. There we have them. Let's see how it looks from the back. It looks okay. Pretty good. I'd say this is pretty good. We have these two that are repeating. We might want to, maybe, let's break it down a little bit differently. We have it like that, we have that one like that. Maybe we push this one a little bit lower. It's not exactly the same. There we go. We basically just used the same technique that we did at the very beginning when we were texturing those plans that we had there. I'm going to make this one a little bit smaller with this ones because they are so small, we can actually get away with shrinking them a little bit. But I think this does a pretty good job. Let's see if we hide all of this here. How does this look like? I'd say it looks pretty good. Looks believable, looks pretty good. One thing I'm noticing is I think you need to still push this Z. Push this maybe a little bit up, just so it doesn't fully scratch it. There we go. 44. Texturing the Sign: A little bit more down the road. Once we finish tturing this environment that we have in front of us. With the first layer, we're going to be starting to add a little bit more details to certain places, not everywhere. Primarily really the train because that is the main focus of where the camera is going to be looking. And all these other extra details aren't necessary to have so much, but some are better than others and give a better impression of that extra realism that we're trying to attain without any much more further do of talking me, blabbling and all that. Let's start just quickly. Turing this part here should be fairly simple because what I want is to go into, let me see, shader editor. And I'm going to apply the blue paint of plank here, but I'm going to make a duplicate of it. Just in case I'm going to call, I'm going to call this one. Let's see, slide, slide, signed. There we go. What I want next is, let me see. We created a duplicate perfect. I need to just unwrap this. I'm going to go into my UV editor press tab, and now I need to just unwrap this entire texture. I'm going to press, I think I'm going to use smart UV project. Might do like an angle limit so I can get more projection groups so that things see to go like to tend. Let's see, what do we get here? Okay, let's try to rotate this, okay? And this is already getting us somewhere. Now there's a few more things that we just need to change. I think starting off with this part here, we would probably want to rotate this, make it bigger, then let's put it here. Maybe it's not a repeating texture, this part is looking pretty decent, I would say. I would just want to make it maybe a little bit more bigger. Put it here. And then this part here. I want to straighten this part out. Actually, I don't want it to be, Let's see if we increase this. Put it maybe like that. That's not bad. But I'm going to definitely want to straighten this part out. So I'm going to press S Y zero. There we go. And then Y zero, like this one. There we go. Now that we have it straightened, it's a little bit better. We're just going to scale it from one end to another, something like that. This is already looking pretty good. There's a few more things that we just need to change here. I want to add a little bit more of that like that edge ware that we've talked about. So I think I'm going to go with me, I'm going to push this here to give it some of that edgewa specifically right around that edge, around here. There we go. Then all these smaller parts, let's see, these are just like small parts. I'm just going to go like in here and then scale them a little bit. That perfect, let's see. But then, because we have the edgeware here, I think this part should also maybe have some kind of edge where happening. Maybe if we did, let's see which part. We could probably use this part here to help us with that. We have here edgewa, we have also edgeware happening here. That is looking pretty good on this end. Let's just fix this part here that we have. So that's a bit more centered here. There we go. I think this is already pretty good. We don't need to worry about our back side because again, we're not going to be looking at the back. There's no point in fixing that here. We could maybe just because this one is looking too clean, I might want to just push it, say let's see Somewhere somewhere like here. We forgot one more part. I just need to make sure that this one here, it's almost like playing puzzle. At some point, I think we already have this one now cleared up. And what we can do next is then add a sign here. For the sign, I use the pretty much the same technique as I did with this one here. I went into Photoshop and then I just tried to manually draw what we see here and then applied it on a wooden texture. You don't need to do this. I took the liberty of doing it myself since it is three related, but it's not in a three software, it's not in Blender. I just took the liberty of doing it myself in Photoshop. You'll find the results inside the resource folder. So what I'm going to do is, oops, let me just scroll out. There we go. What I'm going to do is just go here, going to my shader editor, add a new color. I'm going to call this one, I think it's called Numahara. And then I'm going to press control through my Node Wrangler. It's just going to add an image texture over here. I'm going to go open, I'm going to go into my textures and I'm just going to add this thing here. Right now there's nothing happening. And what we're going to do is we're just going to project this from view. So I'm going to press, let's go press here in the UV editor just so we can see what's going on. And L press project from view. And this is going to work perfectly in our case because it's going to project just exactly these two faces that we need. That we can then go and say, well, let's add this right around here and just make sure that it doesn't fully go over the edges, because then you're probably going to get some repeating tiles happening. I think somewhere around here is going to be just about right. In our case, I think it works pretty good if we want to think. I don't know if we can make this smaller, it doesn't make sense. No, this works pretty good. I'd say, let's see if we could maybe increase it just tiny a little bit. I think we're still in the clear in this case. Perfect. Let's go into our shader editor now and just quickly add a few changes to this, right? Because right now we only have one texture that's driving everything. What we can do is also drive our roughness. For instance, right now I think it's a bit too glossy. We can see it a little bit here. I'm going to go and add a color ramp through this color ramp. So for instance, if we want it to be really glossy, right, you can go super like this. And then you can see how it's being almost like it has glass. It's reflecting but we don't want them, we actually want the opposite. We want to drive this this way. It's almost like all purely rough like that. Then the next thing I want to do is I want to copy this color ramp. But I'm also going to be adding a bump node. And this bump node is going to go into the height. I'm going to go here into the height and then here into the normal. And then I'm going to connect this factor into the color here. Let me just spread this out to see what's going on. All right, if we push this dark here, we get this almost like a clean look like there's nothing going on, I would say. But then if we push this all the way here, we get this really worn off look. One thing I would say is that because I think this is pushing inward right now, if I'm not mistaken. Let's, let's invert this. It pushes outward, let's see if that does any difference in our case. Okay? This is still pushing inward. Maybe if we replace, is this going to make any difference? Now, let's see how this is looking. I think I'm going to go back to something like this. I'm going like this. Let me see, invert. I'm not really noticing much of a difference. I'm just going to keep it as is. I think this is okay. One more thing I would say is we could probably play with the hue and saturation value. I'm going to add here into the base color for the hue saturation value. Let's see, I want to drive the saturation a little bit that much, but just give it a little bit of that grade out effect. Something like, maybe a little bit less like, something like that Then for value, let's see, push it up, obviously it's going to make it stronger. I want to push it a little bit more down. Just try to match this painted material here. All right, we can clearly tell that these two are separate objects, which isn't ideal compared to how we have it in our reference image. But I think it is perfectly acceptable in our case because let's say we're going to be somewhere here. Let's just wait for the blender I'm going to include here, let me see my noise. I'm going to put it maybe at 50 samples just so that noise starts getting to me and so we can see how it looks like, for instance, from here. Yeah, this is pretty good. Like that. Awesome. 45. Texturing the Entrance: Just as we did with texturing this sign here. We're going to use the same techniques to texture this entrance. I'm going to go into my shader editor and select this entrance part here. And I'm going to go probably use the material that I've already used before. And I think the wooden plank one is just going to be the best use case in this situation. We can already see that like this is not looking the greatest. And so what we need to do is, let me just go here. I'm going to duplicate this material. I'm going to call this wooden plank entrance. We're just going to probably, maybe with the color we want to maybe change how this color looks like. And we're probably going to need to change with how this is being wrapped around our object. The first thing I'm going to do is going to my UV editor, select everything. Select a Go, maybe press on Wrap. And let's just see what we're getting here. Yeah, this is not really looking the best. I'm going to go under Smart UV project, that's probably going to be the best option. Give it 0.0 1066. That's fine. I'm going to go press okay. And this is already giving me a better look. The next thing is I probably want to, let me just select everything here. I want to separate these two a little bit, but I also want to straighten this out. I think the best way to do this is going to be by using a add on that we've installed, but I don't think we've used so far. And that is called the UV squares. I think if I select everything and I go here under the UV squares and then go to grid by shape. Yeah, that's not going to do a good job. Let's see, this one. Nope, we need to select everything individually. I think that's the way to go. There we go. So if press here, press L and then press to grid by shape. It just does, it's magic like that. I can do the same here, but with these guys, I really don't need to worry about straightening them because they're already pretty straight out. That's perfectly fine. What I just need to worry about are these ones here. Next thing I'm going to do is I'm just going to rotate everything here like that. And this is going to give me, let's see how we have it in our reference image. It's just going to give me this look. We can see that there's some texturing happening here, maybe at the bottom. Will we want to do that? I mean, we could maybe, I don't know, it would actually be pretty straightforward to do. We might not even need to use any texturing for that. But we'll see. Let's deal with that a little bit later. Let me see how that is going here. And then it's going all the way down. Okay, very interesting. It would be a bit, maybe more challenging just because of how our faces are currently. I think we're going to just skip that part as it's not really going to make it or break us. Let's just focus on adding this wooden plank Right now, I'm going to select everything here. I do want to maybe scale this a little bit more to something like this. And I think another issue is that if I go into, let's see, UV shader editor, whereas the shaded there we go, I think the ones that we have in here are maybe to big, just go here and play around with these values to make it something smaller. Maybe something around four point. Let's see, I think 4.5 matches this look that we have. And that's pretty good. All right, Next I want to do, maybe is just play around with this color. I know this is being hit by the sun directly right now and it's giving it a very strong look. I want to actually increase the size of the sun just to soften up the harshness in the shadows. I'm going to go here and then change the sun's size to maybe something like that. Okay, then let's just go in here and play around with, let's just go in here. Play around with how this color looks like. Actually, I might want to make the sun smaller now that I look at it. If I make it bigger, it's definitely brighter like that. And I don't want that. Maybe I'm just going to undo my sun here. Let's see, the sun is over there. That's okay. Let's change the color now. Here a little bit. All right. For the color, I think it's way too glossy. So I'm just going to go and push this. Maybe, let's see, a little bit forward here and then push this maybe a little bit more here, just going to give it a less of a glossy look. Some glossiness is okay, but not too much in terms of roughness. All right, and then the colors. Let's see here. What we could do, maybe we could drive this one here. This one a bit more here. I think it's because the sun is still looking very orangy. And I want it to be a bit more reddish even though it does match this color now that I look at it. But let me just see how does it look under different sun rotations. I guess it is pretty good, so I'm just going to keep it where is the sun rotation. I'm just going to bring back the sun. There it is. Okay. Do we add any beveling here? We might want to increase the amount of beveling that we've added. Just a little bit. I think it was just too sharp for my taste, at least on this side. And we might want to do the same here. This was 0.12 0.12 We don't need to do exactly the same, but just enough. All right, let's just go here, clean this part up. In our UV editor, we want this to go like this and probably closer to this. I think the reason why it's being shrink now is because, yeah, it's probably because of that. We play with the scale in our node editor, We just need to maybe mess around with this, but this is giving us a pretty good look. We're getting like this nice edge here, which is also not bad. I'm actually liking it. This is looking pretty good as well. Let's now tackle this front part here. Let's see, what could we do here or the front part? Let's go and go into our UV shader editor. I keep mixing those two up right now. Today must have gotten bad sleep. Let's see, we want to add a wooden plank, not that one wood plank entrance. There we go. All right, so we have the wooden plank entrance, but it is way too big, so we might need to go into our S again. Uv editor now is becoming a meme slowly. Let's see if we decrease this. I think something like this. But we want to maybe rotate it. Yeah, we rotate it and then maybe just increase it a little bit. Let's see how this is going to look like way too much. Maybe I do want to have, let's see, one or two that are going long. I'm just trying to find a decent texture that I can mess around with that would work for this sign. I think this is fairly okay. I do want to maybe make it a little bit different, this one, but I'll worry about that in the final phase. I'm just going to move on to this stage now. Let me move on here for this part. All I'm going to do is go into my shader editor. There we go. Then press here and use the entrance texture. There we go. I might need to just go into my UV editor now select everything and smart UV project do the same thing here. I'm going to press this res L grid by shape. Move it a little bit here. This one, press L grid by shape. Move it a little bit here. These guys, maybe here on the side, push these guys, Rotate them like this and then just push them something like that. Again, nice, nice edge over here. This leaves me only with this part in here right now. Let's see how this is going to unwrap a smart UV project. Let's go like this. We need to add obviously a texture which I forgot. Shader editor a two. What am I looking for? I'm looking for entrance. Maybe I need to really change this naming for this one, but this is already looking pretty good. Wow, I did not expect it to actually look this good, to have to do some changes to this part, but I think that looks pretty good. Wow, really did not expect that. All right. I did say that. I want to add maybe a little bit more difference to this part here. So what I'm going to do is I'm going to duplicate this part. I'm going to call this entrance top, as if it's not going to be confusing. Let's see, I want to play around maybe with the coloring of it. So what I'm going to do is under here, under overlay, I'm going to add curves. Let's go curves. And this is like if you've used Photoshop or any other editing software where you do like some kind of color editing and brightness. This is pretty much the same concept. I just want to maybe lower this down just to try to give it a bit of a different look. This is obviously way too aggressive, but just something that gives it a little bit more of a difference in how it looks. And I think that's just going to be a little bit of just something, that's what I'm looking for, just something. To add that extra difference. Let me see if we go hue saturation, we maybe just push the value a little bit down, just so it feels like it is this part of wood, but it's like a separate part that was put here. Very subtle, right there, perfect. We might actually want to use the same texture up in here. While they are similar, they're different sizes, different parts. They're cut off and painted because no two things are exactly the same. Now there's a little bit of a difference and I think I'm okay with that. The next thing we're going to texture is this part here. This should be fairly easy. Let me just see how our texture is looking here. I can't even see it in here. Let's see, we have this, let me see. Everything here looks to be the same texture. Why don't we try to first apply that and just see how it looks? If it's the same texture, I might go with the one that I use on top here. We can see that this needs to be set vertically. We might let's smart UV project and then just go under our UV editor. Just rotate this like this. Maybe make it smaller so we make thanks a little bit bigger. I don't think I want this part to be looking like this. Exactly. So I'm going to go select everything here, maybe rotate, push it to something, I don't know, maybe something like this. Let's see, Maybe I want every part to have like one of these pins somewhere. I'm just going to go a little bit of a random here just to save up some time. But if you want to aim for perfection, just you can try it yourself. But I think this looks pretty good. One thing I do, like this line might want to go and let's see, I might want to go and push this line a little bit lower, just something like that. Let's see, yeah, there we go. That looks pretty good. Oh, look at that. I think we need to push this slightly here. That's better. And now that I look at it, let me see. Are we missing one here? I think we should probably have some, a plank in here at the very end. Let me see if I were to duplicate this one just for the sake of duplicating here, Maybe putting it in front of it, just like it covers. Sorry, little guy. Yeah, I'm just going to cover it. I know it's like very mean of me. And then maybe just mess around with it too, so it's not like fully identical to the previous one. I'm like betraying it completely a little bit, but I think this is Yeah, that's perfectly fine. Something like that. We might actually want to do that. The same with this guy. And just like it, now we're on here, it's like the ending on both sides. I think we're good on that, actually. For the sake of imperfection, Let me just see here. Yeah, for the sake of imperfection, let's push it back here in between, while this one is here, that looks pretty good. 46. Texturing the Pole: As I finished recording the previous video, I started to experiment a little bit more on how to potentially differentiate this entrance part from the train texture here. Because remember, these two are using the same texture. We use the same texture and it is not a lot of space to begin with. Like, right, this is just 123456, maybe eight planks, right? Eight planks that are being spread out so many times on so many different objects on our scene, right? We have them here, here, here, and then also we have them now on this here as well, and then here. Right? And then on the other side as well. Even though, I mean, obviously we're not going to be looking at the other side, but still. Right, there's a lot of repetition in this texture is used in so many different things here. And so to add a little bit of variance, make it stand out a little bit differently. What I thought about like, well, how can we make it look different, but we don't have to do much work on doing. So what I found out was that if we just go here and click on, let's say this plank. And go on our ambient inclusion color Mp that we have here. Watch this. If I just drag this, clamp it more and more and more. Watch, how would we start to get this worn, worn off look going on? I think this is exactly the kind of trick that we need. And I'm going to do it here on top as well. Here as well. And here I'm going to do it maybe a little bit less. But this is exactly the kind of trick we need to help us get these extra darker lines here. Because right, we want to make this feel old. It has been here for a while. Dirt has accumulated around these edges and on these small holes and lines that we have here that are painted like this, This small trick, it gets such a long way, honestly. Yeah, I just wanted to share that before beginning with our next part of the texturing stage. And that is with this pole, this should be pretty straightforward, but it is, the devil is always in the details. As you'll notice, what we're going to be doing is we're going to be texturing this pole. And to do that I'm going to go into, let's see, Polyhan, the texture that I want to use is going to be called rough wood. So you can download it from Poly Haven. If you go again on acids textures, it should be very quickly available. Right here when you click on wood, you just scroll down and here it is, rough wood. I mean you could obviously, like I said, use any texture that you want here. I just found, found that this one in my memory of how these light poles or lightning poles look like this, kind of resembles the type of wood that's used there. So I wanted to go with this texture. Obviously, even on this image here, you can notice that this is a very small texture, really, there's already, even here, repetition going on. This is going to be the key challenge for today's tutorial is like breaking down that repetition of the textures as you'll notice. So if I go click here New and add the text, click Control Shift and to use Node Wrangler so that I can add the textures, find my textual folder, I'm going to use the difference, the normal and the roughness added here. There we go. To unwrap, I'm just going to go a U, and then Smart UV project, put this on 0.10 so that we have some spacing between the islands. If I never explained it, essentially that means, let me just showcase to you if I go Smart project, if I increase this drastically, you can see how separated these are. Just adding a little bit is what you want. 0.01 There we go. Now from here, what I want to do is let me just change this so we don't base it off of our plank. We want to base it off of rough wood that we have here. I'm going to press a scale this summer run here. I just wanted to. Yeah, I just wanted to cover, let's see, this much area, let's say. And then now we've introduced our issue, which is this text, which is this tiling, right? So we have a repeated texture constantly, which immediately our eyes is drawn to because that doesn't seem normal. Right? So in order to break this, and I think we like, yeah, we've used this technique, I don't think, I'm pretty sure we've used this technique already, a few times. Sorry for the little clap. I'm eating my breakfast while I'm also recording this video. So what we're going to do is we're going to duplicate this texture and then just try to mesh it out, essentially to break down the repetition. So I'm going to go here, select everything that I have. Shift the created duplicate over here. I'm going to put this material up, put somewhere around here. I'm going to shift a mix shader, because we're mixing these two shader here, put this one onto here. And now we have two exact same textures being mixed, 50, 50. In order to break that mix, I'm going to use here a noise texture, I'm going to add the noise, I'm going to press control to add a texture coordinate and a mapping node. From here I'm, let's see how this noise is being mapped out. Definitely not good. Go object slightly better but we need to see a bit more what's going on here. I'm going to add a color ramp. I'm going to connect the color ramp here. That goes into the factor breast control shift click One more time, I'm going to start to clamp down these values just so I can see better. Where are the blacks, where are the whites, and so on. So I think the white is going to be the one that's below, The black is going to be the white that's on top. If A, if I'm correct, we can prove that maybe I'm wrong by the way, going in here. And then let's make this one darker. Whichever wood is darker, should be at the bottom here. There we go. I was right. Perfect. So we can see that these dark smudges are the ones that are used at the bottom there. If I go and make this, it's not like that, but if I make it super dark, that's what we get. Excellent. We're going to use this just to help us better visualize what's going on here with our noise texture. A couple of more things I want to maybe clamp down this. I do want to add detail to this, something like that. Roughness, just a bit too much but just a little bit distortion. I don't want to touch that. Let me just add maybe a little bit more of this gray, so it's not perfectly black and white. And I think I'm going to use this as the starting point to try to add some variants to our textures. I'm also going to go here where it says three D. I'm going to put it to four D because this is going to give me this extra dimension so that I can now go essentially up and down, almost changing noise from here. Push this old way on one side, I'm going to go here, Shift, push this here on the other side. There we go. Now everything is back to normal. What we need to do is start changing. Let's see what we could change. Maybe the coordinates in here, all right. Maybe the scale a little bit, not too much, because we still want them to blend relatively well. But we're slowly adding some variants here, but we still need to break down. You can see them, these repeating lines, and these lines belong to the top part. If we go into our noise, maybe we need to just play around with the W, play around with that. Are we going to get it covered in some instances we do get it covered, in other instances we do not. Maybe we need to mess around with the scale of the noise a little bit. Now see, let's clamp the values a bit more. Keep messing it up. Let's actually isolate this. I'm going to press my forward slash so I can just stare at this, what I have going on, I think this is a decent angle to try to figure out what's going on in here. Let's see, we have this, we might need to mess around a little bit more. I do want to have it like somewhere 50, 50 like that. But then definitely, maybe change the scale so that to add more variants between the two. Let's see what else we could do here. Maybe play with the Y. It's not this one, it's definitely the top one that's causing the issue. Let's mess around with one more thing that I think would be really useful is that we just like rotated one to a completely different side. If I tick this one, let's see Y moves it up, there we go, I just want to move this maybe to get rid of that and maybe something like this here. But now I have the issue of these repeating lines, right? We need to, again, play around the values till we get something just works. I think we're slowly getting there. It's not there yet. Let's, I'm going to add 180 rotation so I can mirror this from one another. And I just want to cover a couple of more of these guys going on. Honestly, I increase, decrease. This is going to add so much smudges to it. But you know what? Let's just see how it's going to perform. I'm not 100% sold on it by the way, but let's just see how this is going to look. It might just actually work perfect. Perfect. Perfect. Yeah, I think the top part is going to be fine. This part is fine. Let's just bring it back now with everything to see if it's going to pass our BS detector like this. Oops, one more time, go here, do that. I think that looks pretty good, honestly. Awesome. All right, let's do a quick texture now of these guys. I hope not to spend too much time. We're already 11 minutes into this tutorial, but what I'm going to do here is just something very simple. I think we have like whitish and like super yellowish color. For this, it should be pretty straightforward when it comes to texturing it. What I'm going to do is just add, I'm going to make this one slightly subtly yellowish. Not too much, but just slightly. You can see it here. Maybe track down it to make it slightly darker, maybe like a neutral color, Just something like that for starters. But what I want to do then next, I'm going to add the noise texture here. One more time, press control T, I'm going to make it object and then I'm going to add a color ramp. This color ramp is going to go into here. This is going to drive my color. And then I'm going to duplicate the color ramp. This one here, this one is going to drive my roughness. I'm going to duplicate the color ramp one more time. And this one is going to drive a pump like this. This should go into the height, there we go. Now everything is a bit messy. We need to mess around with this noise texture a little bit. Let's see where, let's start with this color ramp. I want to have it be something similar to what we have here. Want to add more detail to this noise. Something like that. Maybe mess around with the scale just like that. And then maybe no distortion. Just a little bit like that. This is going to be my base off. So I'm going to start off now here, this is looking very nasty by the way. I'm fully aware of it. We're just going to P's, we don't want it to be fully glossy, so I'm just going to turn down the roughness to something like that. It is some metallic, so I'm going to give it maybe a bit of a metallic property. But then from here, let's see, what do we want to do here? This is driving where we have disappearing. So I'm just going to make it very slow and subtle. That's going to give me like almost like this worn off. Looks pretty cool, but I think we need more detail. Might actually go like this, push this into here, push this into here, and then just start messing around with the detail like that. Make this maybe a little bit darker, that's everywhere, but it's not the same strength. Maybe push this a little bit more like that. Perfect. I think the strength is still a little bit too high. So I'm just going to lower the strength. Let's see. Because this has been on top for a while now. I'm using this highlight here to guide me as a point of reference. There we go. I think this is pretty Okay. I'm going to go now use this to help me with the color a little bit. As I said, I want to use a neutralish color. Something around this here looks acceptable. And then maybe here I'm going to use something the same. I just want to copy this color hex value. Take the hex value, put it here, copy paste it here, it's duplicated. And then now I just want to play around with it just a bit. I think this gives me that neutral look that I'm looking for. I'm going to press here, press now here, and then go control L. Link materials that did not work for some reason. Let me just go one more time. Control L and then link materials, maybe control L, link materials. Okay. Makes sense. Sometimes I forget. Yeah, Just make sure that you have this one being the light one and then this one being the dark one. So it has to be like this order. It takes from the one that you have, final selected, which is active element, which is this one, and then transfers it to here. Perfect. Now, oh, how did I get to this color? Let me just play around with the hue. There we go. Maybe you can just do that on your own. By the way, I think this is perfectly okay. And then this one I wanted to be yellow. I'm going to create just go and link at one more time control link. But then I'm going to separate this one as a new material and I'm going to go here, make it yellowish. Okay. I'm going to actually change this color here to make it a bit lighter. I think it's blending in too much with the wood, which is what I didn't like. Then, this one a bit more orange and a bit lighter. A bit lighter here as well. All right, let's see how this is starting to look from roughly here. Okay, I want to drag down the colors just a bit. Something like that. Perfect. So we have our light pole done now, or it's not actually a light pole just, I guess a direction tells directions. Not really sure what this is, but we have it done, which is great. The last thing that's remaining or the last two things are the stand here of the station, this rock huge where people are standing and then the water, water is going to be generated procedurally. But for this rock itself, we're going to be using similar techniques that we just did with this pole. All right guys, they'll be all for this video and I'll see you in the next one. Bye. 47. Texturing the Station: Hoping that this video takes shorter and is less convoluted as the previous one. Honestly, I did not expect the texturing of this poll to take as long as it did and get so complicated at certain points. For something so simple and pretty straightforward, I did not expect to encounter so many hurdles along the way. But things like that just tend to happen, I guess in one way or another. Could also be used as a good learning experience for you guys to see how to deal with similar situations. But moving on from there for this video, we're going to be now texturing this pavement. Station road blocks rock. Not 100% sure how to call this thing, but yeah, to texture this, we're going to be doing the same things that we've done before but also adding on, on top of that learning something a little bit new in this video as well. I believe that at least I believe that we haven't done this before, if I'm not mistaken to begin, we can just go under new and add a new texture and we can call this texture Station texture. Very original. So to say, one more thing that I forgot to do in the previous video is also give names to these textures to stay organized, I'm going to call this on poll wood texture and I'm going to call this one here pole sine one and then the yellow one sine two. I think now we have all of our textures applied with good names. More or less. That should just help us stay organized, which is pretty good and important I would say. All right, from here we are just going to be trusting our good old node, Angular add on, so we can press Control Shift, and this is going to take us into our File view and we just need to find the textures that we're going to be using for this shoot. I haven't even really talked about the textures in terms of textures that we're going to be using here. We're going to be combining two textures. Primarily we're going to be using this paving stones 136 texture and we're also going to be mixing it with tiles 130. You can go both of these textures on ambient CG or you can just use the resource folder that is attached with the tutorial to download those two textures. All right, back to the texturing itself, Control Shift, and let's find those textures. There we go. And here we're going to use our occlusion, we're going to use our paving stone color, we're going to use our displacement, which I believe we have not used before. On top of that, we're also going to go with our normal map and our roughness map here. It goes right off the bat. This is looking horrendous, but no worries. We don't really need to do too much here. There's a couple of ways that you could clean up this texture part of how it is being projected. You could go under object for instance, and just have the texture reprojected on the object, this is not too shabby at all, or you can just go under UV and then play around with how it is being wrapped on this object. I'm going to go press Shift A, and I'm going to unwrap this using a be projection because this looks like a cube. A little bit has that rectangular cuboid, I guess shape. I just said rectangular, but yeah, it still works in this case. Then we just need to play around with the scale. I think I'm going to go with, you know what, something like this is not bad, that's why I'm looking at it. Nine maybe. I'm going to actually make them a little bit more, so maybe ten. Maybe a little bit more. 12. Yeah. Let's see what else we got here as a good potential option. 15 isn't that bad. It doesn't really matter though that much. Now that I think about it. We could go with maybe something like this. This is 15.7 I think this is like maybe one too many. But let's play around with this and see how it turns out. All right, from here, what I want to do next is I think we need to connect our ambient occlusion first. And then we're going to play around with the displacement a little bit. I'll show you how that works because I don't think we've used displacement yet. If I'm 100% sure for ambient occlusion, we're just going to use a mixed color shift A and then go into mixed color for our base color, it's going to go under A. Our ambient occlusion is going to go under B. Then from here, this is our ambient occlusion is our main color. And we're just going to go put the Alpha because the Alpha is going to drive this all the way to the B. Now from here we can just go and say overlay and add a color ramp. Let's go search color ramp. This color ramp needs to go under the color of the ambient occlusion. From here we can just crank up this ambient occlusion. Like if I go all the way like this, things are starting to get really gnarly, but we don't want to go that much. We just want to have something along these lines I think is going to be fine. And usable. That's perfectly okay. What else could we play around with? Maybe this going on. So let's see. Just do some small tweaks to it. What could we do? Let's see. I guess something like this, but then it's like the tiles are very big. Yeah, this is looking weird. So I don't know if I want like that. I'm going to worry about this a little bit later. I do want to get now into the roughness actually color ramp and then let's go into the roughness here. I'm just going to clamp out the value. So if I push this one more sent to get things darker and then if I push this one here, we're getting this look, whatever is dark is going to be very glossy as you'll notice just in a second, if I go all the way in here, like everything is like super wet and glossy as you can see in the reflection. But then if I go, maybe not everywhere, but just like some places, it's going to be a little bit more natural. Let's see some places because I do want to give it a little bit of that wet look like people have walked over it and there's water splashing a little bit. I do want to have that, which I think this gives me that wettish look, which is not bad. Then the last thing actually, at least, is going to be the displacement. To make the displacement work, we need to do a couple of things. First one is we need to go under material settings. We need to go here under surface displacement. And where it says bump only, we need to change that to displacement and bump, we can also change the displacement only, but we want both bump and displacement. We change it like that. Now immediately something happens, but it's not really there yet. The next thing and you already have this done. But just to be sure, you need to make sure that you're in cycles and you're using feature set experimental. That is also very important from what I understand. Lastly, and this is the most important part, you need to add a subdivision surface control one shortcut to add a subdivision surface, but not just any subdivision surface. We need to change this to simple and we need to have adaptive subdivision turned on. Once that is done, you can already notice that things are starting to get very, hey wire crazy around here. We need to play with our displacement strength. If I go here, let's just change the scale to just something a little bit more normal. Let's say what A whole shift. And play around with the values, maybe 3.03 seems to be doing a good job, and I think that's okay. All right, from here I'm just going to duplicate this principle BSDF. And now we're going to be adding on our other texture. We're going to go control shift. Let node angular do its magic. Go under our tiles, go under occlusion, color displacement Again, normal and roughness, perfect. Let's move everything here so we try to stay somewhat organized in this entire mess that's slowly happening. Let's just connect control shift, and click here to see how this texture now works. All right, The way it's being projected, we're probably going to have to play around with the size. Let's just try to get something similar that could work with what we have in terms of our tiles. And we can see, well, we don't really see our tiles, but we do see the displacement of our tiles. You can see these lines. This can help guide us in terms of how we want this other texture to be rejected. In terms of scale and everything else, I think I'm going to start off with something like this. That's going to be fine. What we can do from here is let's just go and replicate this too. So I'm going to press select them, shift, put them down here. And then take the ambient occlusion, put it under A, or no, actually that goes under B. And then put the color, color goes under A. Then this one goes here. I'm a little bit tired today. There we go. And then the factor perfect. Now if I have this, if I click here, this should be giving me, oops. And connect it. There we go. This should be giving me some crazy stuff, but not like this. Let's see, what am I doing wrong here? I have the color. There we go. This is wrong base color needs to go under a. This needs to go under perfect. Yeah, I guess the video cannot go with a little bit of complication caused by me, maybe a little bit rushing this. I'm going to slow down a little bit now probably, but I think this is going to be fine now. We just need to combine these two textures together, and we also need to combine their displacements. I'm going to start with the displacements first. See, I'm going to start off with combining actually these two textures first. Because that should be easy, I just go mixed color, I put one into here. And then this one's going to go bottom. This one's going to go top, mixed color. There we go, mix. Then this one goes here, this one goes here. Then now I just need to combine also these two displacements, because right now we can see the textures are being 50, 50 mapped out here. I'm going to go and add, let's go here mix. And I'm going to put this one here, and then this one is going to go into here. And then this is going to go into the height that I can actually take this one out because I don't need it. And this one can go into here. There we go. Now these two, we can also put it under Ad and go like this. Lastly, we also need to add a factor. I think the factor for this is going to be the noise that we're going to use here. I'm just going to push this a little bit closer to here. Something like that. This one can go here, this can go here, really. Now we just need to play around with this part. We need to go here into the factor, we're going to use a noise, this noise texture is just going to be used as a mask, to mask out these two textures that we currently are building off from. I'm going to press control to add a texture coordinate and a mapping node. I think I can also immediately just do and combine this here as well. It goes under these two factors. I'm going to add, actually I'm going to need to add a color ramp. And then from this color ramp it's going to go into here. Because the color ramp is going to be controlling both of them. And that's what we need. If I push this now super close like this, and if I push this super close like this, we can slowly start getting these weird things. But the reason, because of our noise texture, how it's being mapped out around our object. We need to go and change, let's say object quite literally and maybe play around with the size. Let's change the scale to something bigger. For sure, I'm going to go into my color rem because that's going to give me this contrast, which is better? I'm going to change the roughness, I'm going to change the detail. I'm going to play around with the roughness a little bit more. I do want to like these very dark splotches distortion. We don't need distortion, we just need to maybe get a little bit better in terms of the detail and everything. Let's see how this is looking. It's not bad, it's not looking bad at all. We can probably clamp the values up a little bit more even to get something like this. I think this is starting to look really good. Probably I would say maybe go in here and mess around with the height in the end. I do think that if we have this lower to something like this, like 11.6, that's actually pretty good. Maybe we can make these ones also bigger. Look at that. When we get these to match, like this line here, it's starting to blend in So well, I think this is looking really good. We can now just maybe play around with, let's see, should we mess around with the displacement? That is the question. We could probably maybe change the displacement a little bit more, way too much. That's like not good, but something like that, it adds a little bit of this stuff going on in here. I think that's really cool. I think this is going to be it. 48. Texturing the Sky and Water: I think now is a good time as any to start working on our composition. Actually, let me just push this in here. We want to get this look that I have on this screenshot here. Except we're not going to go landscape. I think we're going to go more into like a portrait mode, something that's more fitted for Instagram. For instance, let me just put this here. I don't think we're going to need it this big though. Let's make it smaller. Something, something like this is going to be fine. Perfect. All right, we don't need to add a camera now, so I'm going to go shift A and press camera. We're going to take this camera out of our environment collection that we have here so we can have it in here. Let me just go Z so we can see how this camera is currently looking, where it's being placed. I'm going to press N. I need to zero out the stuff on the camera. I'm going to go press zero. So now the camera is facing downwards and facing in that direction of the Y axis. I don't really want this. I'm going to press rotation here, 90. And I'm going to press on the Z axis, rotation 90 as well. This way my camera is facing in that direction. I'm going to split my screen now here as well. Because I want to have one screen be dedicated to this composition. And this is going to be my left screen from now on. My right screen is going to be for working on things now. We can obviously change that later when we go into texturing and other things, but for now this is perfectly fine. Okay, we need to go right click here on the X and grave or whatever you call this, key view camera. I'm going to press, let's see, Press here on the camera, go G, X, move it somewhere around here. And then I want to move it lower. This is going to mean that I need to expand this part here. That's going to be for the water. So I'm going to press one more time, X, push this past the camera. I'm going to press control A, just so I apply the scale while the camera is here. Let's see, we have this angle here. If you can see how far it is from here and you can see how far it is from here, it's centered, and you can see that it is on the lower third. The train is positioned in the lower third, we can go and what we can actually do is rotate it into y, axis y. And then just holding shift, just slowly moving this, it pushes it upwards. About that we need to change, obviously also our resolution here. Right now it's in landscape mode, as we said. And we're going to put it more into portraits. I think this needs to go under 1080 and we're going to put 12, 80 here, exactly like this. We might need to also play a little bit more here on the R Y of our camera. I'm just going to push it maybe a little bit more. And I need to push my camera a little bit further. Right about here somewhere. I'm going to push my train away, just so I can see G Y on the train. I'm going to push it away just to see if this is centered. And I think this looks pretty good. All right, so this is our composition more or less. Let's put the train here in the middle. Something like here. Maybe a little bit more. I'm going to press here, the biggest one, biggest cage. And move it something like here. Perfect. Let's press R here. There we go. And I'm going to press control. And then middle mouse button click. And then just zoom in here so I can get a clear look what's going on. We need to start working on the water first. To work on the water, I'm just going to click on this plane here. You can click on here as well if you want. Shader Editor with the plane selected, I'm going to click Material and tap Water so can stay organized. The water material is actually very simple. We need to just lower down the roughness. Right now you can see we're getting nice reflection here. We need to play with our transmission. We can increase the transmission all the way now. It's very transmissive. We can actually maybe lower it just about here. And then we can push this color here. Something bluish. I'm thinking, let's go something around here. Then next thing we need is simply change the IOR for water, we're going to use the 1.33 OR then let's see what else we need to play with our normal. You need to add some bump here to the scene. The bump is actually what's going to give us. If you look here at this source image that I use from a real place in Bolivia where we have this similar effect. You can see that water has like these small ripple effects here happening that give a blurry, almost like a motion blur to it. And then obviously there's a bit more clear look. I think that even matches more what we need, but you can still see that there's this ripple, blurry effect. I think it also depends on the angle that you go for, whether you get a clear reflection or not here for instance. I think I'm going to go with something in between these two that we have going on. Now what I'm going to go here, add a bump, is going to be a bump under height. I'm going to add a musgrave texture and I'm going to add control key, my texture coordinate, and my mapping. To start off, I'm going to just go to play around here with the scale. Let's see if we increase the scale drastically. We get something like this. So I'm going to go with 150 just so we can use round numbers. And then for detail I'm going to lower that detail by holding shift. This is still too aggressive. Bite away, 0.3 I'm going to lower the strength actually as well. Now I'm getting that look already. It lowers strength. Little bit of a distance here, one the same as what it was. Let's see, detail. What do we have? We had something like this. Then maybe dimensions. Are we getting anything? I don't think we are. So if I put it to zero, it's still the same. I think something like this is going to be good enough. Now this is going to be the first layer that we're doing, as I talked about before. We're also going to be adding secondary layer to all of our textures. Pretty much for now. I think this is good enough. It's going to get us a long way and give us a good idea. We can even go and move the train and see, okay, if the train is here, how does this look like? It looks pretty good. We can say, okay, well maybe I want the train to be a little bit more stronger because cartoon in our anime image here, right here, you can see it's very reflective, right? So I can like lower this detail, make it a bit cleaner. Something like this is going to be in all your personal preference, to be honest. So it's going to be your call while we're here at it. I think we can also go and press Shift A. Use our image as plane background. Let's go under our pictures, we can add our background, sky, sky. We're just going to be using this little trick where we take an image as a plane. We're going to 100 scale it by 100. Push it a bit back, push it a little bit up, Let's see. Just enough so that we can find our sun. Where is our sun? Okay, there it is. I want our sun to be right around here somewhere. Now, we need to also keep in mind where our actual sun is that's lighting up our scene. If I move from here, we can see that the sun is over there. So we need to push the sun closer to here so we can get a more realistic lighting. I do first. Actually what I'm going to do is I'm going to picture this. I think that will be the smartest way I'm going to go view camera on this side because right now it's very dark. I'm going to go here. Under the shader editor, we can see that we have our sky texture going on in here. We can just disconnect the alpha like that, We don't need it, but we can take the color and push the color into the emission. Now this image is being emissive and it's missing light. It's lighting up our scene. We can play around with the strength of the emission if we want. We can push it a little bit stronger, a little bit weaker. This is up to you. I'm going to push it 1.3 something like that. We can then play also with the huun saturation. If we put the huun saturation here, you can see you can control how you want the image to be saturated. This is too much for my taste. I'm going to go something a little bit softer, maybe a little bit more like this. Then also we can add a curve or contrast also. But let's go with the curve RGB curves. I'm going to put a curve in here. I'm going to push the highlights a little bit up, but I'll push the shadows a little bit down to get this nice dark, little contrast. You look, it's a little bit off from what we have here because you can see that the shadows here are much softer. But something like this matches also here in real life. So I think this is good and we can also see how our water is looking because it's a different shadow. We need to play now with the water again because I'm not really liking 100% how this is looking. Maybe. Let's see if we, with the scale, add a bit more detail. Let's see Dimension Cuarity. I'm going to keep it something like this for now. Let's just now, as a last part, play with the position of our sun in relation to our image here and lighting overall. I'm going to take out here all of these things. Just so I can get a clear idea of what's going on, I'm going to click on my camera. Let me see, View Display. I'm not sure how you pronounce it, but I'm going to increase it all the way so I can get like a full, full, clean idea of how my render is going to look like perfect from here. Let me just try to play a little bit more with my son. Where it's positioned, how it's looking, I think I'm going to push the sun A B in this direction. And now it's getting like almost covered by that, which is actually is getting covered. So I'm going to push this and just go, Y, push it a little bit more on this side so I can give my son here a little bit more light coming through. I am fully aware that this compresses, moves my image a little bit. Okay. In this case, I don't mind it. Let's just see now where the sun is. I think I need to move it a little bit more towards left to get some of that sun coming through. Because if I move this, I have that. Let's go somewhere around here where it was initially. We can also play maybe with the size, we can try to get some of this. I want it to be a little bit lighter. Let's see, that's a bit too strong. Maybe if we play around with the air. I think I like how the air helps with the overall image here. Let's just because this is actually our main focus here at the colors and composition. Look around here, that's good. What I can do, one more thing is I think I'm going to add like a point light right here where the sun is positioned. So I'm going to go shift a, I'm going to go, let's see, I'm going to add a point light. Push that point light right about here in the height of the sun solid. Then we're just going to push it a little bit further. Right about there were the images. We're going to increase the size of this point light. Let's see the strength and radius I can get. You can see this thing here that's happening, That's what I want. I'm going to try to match it with that sun, a little bit like that. Let's see if the sun is right there. You can try to push this like this, increase the radius a little bit more, definitely, stronger bowl of light for color. I'm just going to go with the color picker and click here so I can get. Let's go even more into the yellowish side of things. Something like that. So we can have like this, almost like sun is slowly reflected here into water. If I decrease the shadow, it's much harsher, decrease the radius, it's definitely going to be much harsher. If I increase the strength, it's going to be definitely much stronger. Let's see if we go to, let's just go crazy with 10,000 for now. First, let's play with the colors. Now it's obviously too strong, fully aware of it. We can probably lower it by, let's go lower it by 10 and decrease the radius to just something like that. Maybe play around with the height. It's still too strong, maybe. Let's check our reference image here. I think this is still too strong. Let's go once, it's just a little bit here of a hint that's coming through and this is like causing the reflections. I think this is looking pretty good so far, right Now, one more thing I'm missing. I want to have some let's image here. There's a bit of a shadow happening here. But instead of a shadow, what I want, we can say, I guess the sun in this case is coming directly, it's coming directly at, it's not coming from there, it's coming from here towards it. Technically, the sun would be in that direction. But in our case, we're going to keep it as is here. But what I want is a little bit more of a reflection in this part here. I'm going to go here, back into the sun. I'm going to play with the rotation until I get a nice perfect reflection right about there. I have like this rim light here happening, which is exactly what I want. Let's see, what else. Can I get it a bit better? Yes, there it is. This is what I want. Very nice, cool, very good looking. I might even want to push this now more to the left, so it kind of matches my whole idea that I'm going with the sun is coming from this direction. Let's take the sun, move it more to the left here. And I can call this light, let's call this light bake sun. The sun is coming from here and it's reflecting onto this here. And we're getting this here, perfect. I think this really nails, uh, and not just in terms of our composition, but it also helps with our lighting. I think we're settled with that and now the only thing that remains is to start adding our secondary details onto the scene to bring a bit more realism to how everything here is looking. Once we're done with that, we're pretty much done with the texturing phase and we can move on to our final phase, which is the animation. All right guys, this will be all for this video and I'll see you in the next one, Bye. 49. Texture Painting the Station: All right, so we've gotten up to this point and our render is looking pretty good, but it's still not there yet. Something just feels off, right. Like I think the water is a bit too aggressive over here. The sun, the way it's hitting it. And then especially our train and the station here just feel simple. Even though we added a couple of extra details in here, it just, it's not there yet. Something just feels off, and it needs a little bit of extra work. So what do we need to do? Well, let's start first with the water. I'm going to clean up the water just with a really simple trick actually. I'm going to go into my shader editor on my right side. I'm going to push this here on my left and just go like that. What I want to do is just lower the strength here just a bit, just enough. I can barely see these ripples like this. I just put it, I want to put it at 0.002 might lower the scale slightly a bit. Let's see. Change the detail to maybe something like that. Then play with this value here as well until I just get something that works for me. But this is not it yet, right? Because right now the water is just to clean in a way and we need to play with the roughness, we need to change the roughness. I'm going to go and add a wave texture here into my roughness like this. Then I'll just play with the scale. Let's say something who I really like actually were worry. I think something like this really works nice. But then I'm going to also play with the distortion. Get, let's see. Something like that. I'm going to press control to add my texture coordinate and my mapping. Then from here I'm going to add a color M, which is going to just control the strength of the roughness in certain areas. For this white part, I'm just going to lower this, push it almost to dark, but not fully. What this gives me really, is this nice blurry little rough part here. It's not a perfectly clean reflection. I'm going to play now with the scale. Let's see if I put it too much. That's not what I want to get. I want to go with something closer to what I just had. Like this looks pretty good, I would say. Then for this value here, I can also increase this part here. It's, you know, let's see, this is way too much obviously. But if it keep pushing it somewhere here and maybe this part, I make it darker also just push it. Now, these are just tools, again, to help you achieve the vision that you want. You don't need to follow this exact look. If you want to do something different, absolutely, go for it. But I think I'm going to be, for now, very satisfied with what I got. I might just lower this slightly a bit more just so I can get a bit more clear reflection like that. Perfect. All right, moving on next is I'm going to change a little bit how the sun is working right now because I think it's a bit too much on this end, so I'm going to put it somewhere here, negative 150. I think it's going to work for me. And then if I go into the look again, I think I'm just going to increase the intensity just by slightly bit, like 1.5 Then I'm going to play with the air just a little bit to increase the contrast here. This part, maybe add just a little bit of dust, not too much. Maybe decrease the air, increase the dust, just to get this look right there and be increased intensity just a little bit more. So there is like a stronger reflection on the front of the train. Like this part here, that gets me pretty good. I can also change, let me see, We have the fake sun here. I'm just going to press G, Z to see where it is. It's right over there. You can barely see it, but it's right here. Might go into that one and increase it by 200, so it's a bit stronger over here, but maybe that's too strong. So let me see if I lower down the radius. Increase the radius, maybe something like that. But then maybe play also with the saturation. Make it a bit more orangy so it fits here in the scene. I think that looks pretty good. Okay, that is overall much better in terms of the color. Next is what's the most important part in the technique that we're going to use now in a couple of videos. I think even once you learn it from this video, you'll be able to just repeat it in the next view and you'll know how to do it exactly. That is texture painting. Up until this point we've pretty much Control how our two textures are blending with using noise. We've used this noise texture to control where one texture, where this one is going to be versus where this one is going to be. We had that in this mix shader. But what we're going to do now is we're going to add a third texture. I'm going to organize this a little bit by selecting everything. Pressing control J, I have like this grouping here in the frame, and I'm just going to call this frame nexture. One texture set, one in properties. Increase it, just so we can see what this is. This is only for staying organized purposes. We're going to add a new texture here, this one. Let's go mix shader. We're going to add it into here. This is going to be where a mix shader is going. Then over here I'm going to add another principled STF. For this one we're going to be adding a new texture that we need to get. Now you can get it either from the texture file or you can go to Mb and CG as per usual. If we go under our materials, we go into Rock, you'll find it here at the very top. At least. It should be called Rock 053. You can download a two K version or four K if your computer can handle it from here. All you need to do then is and add it in this scene. I'm going to press control shift and to use my Node Wrangler. Add on then from here, let's see, Tur, where is it? Rock 053. I'm going to add the ambient occlusion, the rock, the normal and the roughness. There we go. Now we have this, all of this added. Let me just select this, push it here, push this here, push it like this. Let's just go in here. Let's have our mapping also be here. We now need to clean up this texture. We can't see it yet, but if we push the factor over here of our mix shader all the way on one side there it is. It's not looking that good, It's not looking good at all. Because we need to change the scale first. Let's push the scale so it fits better onto this rock station scene to maybe something like this. This is looking a little bit better already, but now we also need to do our MP occlusion. Let's add the Mpc mix overlay. Let's go mixed color like that. This needs to go under overlay, I believe. Then our color goes into here and our alpha goes into the factor. Then color ramp goes into here. Let me just double check if I did that correctly, I think I did perfectly. So now I can use this color ramp to drive the strength of the ambient occlusion as much as I want. I'm going to keep it not too strong, just something like this. I can see these cracks a little bit better, but we're still not there yet. Now, we need to also play around with the coloring. Here's the deal, right? We're going to use this texture on this side of the station because if water has been here for some time now, right, it wouldn't be this clean. This rock would have been almost eroded and mass would have collected on this side like because the water would be definitely like green and mossy and wet. This is what we're trying to achieve with this texture. We want to give it that green, mossy, wet look. The next thing on our list is going to be a hue and saturation value node. If we push the hue and saturation in here, we just need to now just do a slight change. Maybe 2.6 I would go in less. 2.5 0.5 0.5 55. There we go. So 0.55 does the job pretty good. But I'm going to maybe lower the value a little bit just to make it darker. And I think I'm going to lower the saturation just a slightly bit. This is matching my color palette scene a bit better, but it's still very dry looking. The next thing that we need to do then is add a color ramp. This color ramp is going to go in here into our roughness. Then we can push it all the way almost, let's see what we get. Something like maybe this, it's almost like super rough, wet looking in all of the parts, which is good. Now I think I would say this is pretty much ready. How is this going to work? Well, let's push this here. This is going to be the part now that we need to play with to worry about our mix right now is being 50, 50 split. We need to create a mask that we're going to hand paint, that's going to tell it to only appear on this part here. I'm going to add an image texture in here. This image texture is going to be perfectly clean. I'm going to press. And I'm going to call this mask because that's what it's going to be. I'm going to type in here times two, so it's like two K mask in here. I'm going to put this to non color because it's going to be a value between black and white. To give you an idea, what's going to be happening now is if I have this object selected. If this here is selected, if I go into material preview, I have this station mask here selected as well. So if I go here, let me see. V image editor and I go here, station mask. We can see this is how the mask currently looks like, it's purely black value. Let me just see if we've connected the mask. Mask needs to be connected here into the factor. If we go into the image editor and I type in here into white paint, sorry, texture paint. There we go. I have this set to white. And I start doing this, you can see that now we've added this white value onto our image suture and that white value is being used as a mask. But the issue that we have right now is that you can see this follow, being very soft. And even if you know the strength is all the way up, it's just, it's not there yet, right? Follow. It just looks way too soft. So if I go into our render view, this is what we get. It's okay, but not great. Now this technique is something I've learned from watching blender guru videos. So I'm just going to undo this. A couple of steps you don't need to do this, is that we need to now apply or change the way our image texture here is going to be applied to this mix shader. As a factor, we're going to be adding a mixed color putting in here and we're going to use a mixing called color burn. This color burn is going to help us create a better fall off for the mask here. If I go here under roughness also, I'm going to put this here for B and that's just going to help me drive that. Then the last part, which is going to be the key part, also is our color ramp. So we're going to add a color ramp and I'm going to put it to constant and then push it somewhere here. Once we have this set up going on, watch this now, it is much stronger of a fall off happening. It's much harsher edges. We have if I lowered the strength a little bit and if I press a couple of times, you can see how these edges are starting to look. Which is way, way better for this scenario that we need. Now, one important thing, I'm going to press control Z a couple of times now, is we need to one more time unwrap our objects. Because if I go into UV editor, this is how it's looking right now. And unfortunately, this isn't going to work because we have this cross area that's happening. So that means that at some point, even if we're painting over here, something's going to appear over here because of this cross area. The way to fix this, I think if we want to be really quick without doing too much work, is just selecting this, putting it like that on this end. And select this, putting it like that on this here. Now we can also test this theory if I'm being correct or not, by simply going here under architecture paint and then trying to paint on these corners to see if there's anything that's going to be happening. I think this is way too much right now, but I think this is looking pretty good. We can also hide our train. We can go a couple of ways by doing this. You can go like very aggressive as I'm doing right now. And then once you have this entire corner part done, all you need to do next is just now press control and then go on this side and then just clean up. You don't want to go all the way up. That's at least not how I want. If you want to do that, you can go for it. But I just wanted to be up to a certain point. I'm just like pressing, holding control and pressing my left click with my mouse. As I'm just slowly pushing this over there and then pressing here one more time. You can see you get this nice look that we have. Then pressing here one more time control, then just controlling essentially how this is being added onto my scene. Now we have a seam that's right about here, which is causing this molese. We might need to maybe lower this and increase the strength, and then just press here a couple of times, let's see, to get rid of this seam. Unfortunately, alternatively, what we could do, we can just have B, let's see, we can go here and say clear seam. Then if we unwrap everything one more time, this could work, but then you have to do everything from scratch, I think. In our case, I don't want to do everything from scratch, I just want to clear the seam. So I'm just going to go like this At certain parts, you can have it go all the way here, obviously. But for me going to go like this, I'm going to probably speed up the video because now it's really just a matter of playing back and forth until you get a certain look that you want to go with. I'm going to speed up the video now until I get my results so you can see it. You can do the same if you want or you can go your own way, whichever you prefer. Once again here you can see I have this part that's being here. So I need to just take it, push it here on the side, map it, let's see, something like this. So that I can now paint it. Because otherwise it would have also affected over here somewhere because it was being overlapped. But I think I'm going to have to do, even though this is not going to be very visible. I'm same here with this part here, press L G, push it here, and now just paint over it like that. Let's see how this is looking. I think that's pretty good. I'm going to go Rendered. There we go. Now this is way better than before. Perfect. You can play with this as you like. Go in here, change this part. You can see I have a few mistakes here. Realistically, the mistake that I've done here is I've had the seams, as you can see, appear here. What you should do probably is just select everything, clear seams and then create seams that just go maybe from here to this part mark seam and then a unwrap. And then that way this part here, you wouldn't have the seams and then you can create it or you can use maybe Smart UV project. Let's see, I think, yeah, smart UV project really gets us a long way where we want to get to this part as long as this part here is connected. Even though with this there's still some scenes happening, But I think it would be clear, but I think I'm just going to control Z and do this. Even though it's not perfect, it's still not that noticeable on the naked eye. And it looks pretty good over here once we had the train. See, this is our scene up till this now point. Perfect. One thing that I forgot to mention just when I stopped recording this video is be sure to also save this scene. This image here in the the image editor. Once you have the station mask go under image and go under save as. And you want to have the saved inside your textures file, so you can go here and call this station mask PNG and save image As. Perfect. Once that is done, be sure to save your project as well. And you're good to go. 50. Texture Painting the Wet Planks: Now that you've learned how to texture paint, the rest of this is pretty much going to be up to you in a way because for the next couple of videos now, I'm going to be basically just texture painting and adding additional details to this train. And it's going to be your choice on your own personal preference, creative decision to choose how you want to approach this. You can go with the texture painting route that I just showed you when we were doing this station over here or you could basically just use noise textures. How we had it over here where we had the mus grave texture, we had the gradient texture. And then all of these things would basically just drive our surface imperfections that we have on the window here. So this is not just going to be a matter of personal preference. In this video, I'm going to be adding extra detail to the wooden planks here, all of this here. But really, I'm just going to show you the beginning part of it. And then I'm going to speed up and meet you at the end because it's all going to be a very repetitive process. Explain my reasoning here. What I want to do is because this train writing on water right now, right? So my logic is that if it's writing on water, the water is probably going to be splashing. And if the water is splashing, then that also means that this part here, the lower part of the wooden plank, should at least have some wetness look to it. Right now, it looks very dry and it's very rough. The way I'm going to approach this is very simple actually. I'm just going to take everything here on my textures that we have here. I'm just going to press Shift D to duplicate them. I can actually just go here at a mix shader and connect now this here into the mix shader. Then from here I can just go push this on one side. Now I'm just previewing this here. If something is going to be really wet, first thing that comes to my mind is that it's going to be more glossy. It's going to be shinier. Can just push this roughness to make it a little bit more shiny than what it was before. And that's already given me a very good desired look, pretty much right on there on spot. The next thing is it's definitely going to be darker. So I can just go in here, this here, push this. Now, this is maybe too dark for my taste, so I'm just going to maybe increase it slightly. But I mean, this is pretty much what I need, because from here it's now just a matter of repeating the previous steps that we did when texturing this. We just need to add an image texture, color, burn, and color ramp. That's what we're going to be doing here. Let me just frame everything in here. I'm going to organize this a little bit better, makes sense for you guys to look at. From here, I'm going to add an image texture. I can go ahead and call this image texture, see this is a mask and I'll call it mask wooden front. There we go. I'm going to make sure that this image texture is two K. I'm going to make it non color over here. Now I just need to add a mixed color. With this mixed color, I'm going to put it to color burn from here. I can actually take the roughness from here to drive this. Then I'll put factor all the way to one. I think the last thing that's remaining really is the fall off. So when we texture paint, it's a bit more rougher around the edges, it doesn't have that smooth fall off. We're going to add a color ramp and just make it constant, somewhere like this. This is pretty much the same set up as we had when doing this. As we can see here, we have our image texture, color, burn color ramp. All right, from here. Now all I need to do is let's just make some room over here. Perfect. Let's go into our texture painting, texture paint like that. Let's go into our material preview. Now all I need to do is just, let's say increase the radius. I think the strength is going to be fine. Let me just press a couple of times to see if something's going to happen. Nothing happening yet might need to increase my strength. First, let's go and increase the strength and test if something is going to happen right now. Still nothing's happening. It might be that I don't have this selected, but I want, let me just make sure. All right, that is selected. We have our wooden plank, that's perfect, color burn, this here is constant. Maybe we need to lower our color ramp here and there we go. That was pretty much just the issue. We had to just play with our color ramp a little bit. Now from here I can start adding. I don't need to have the strength strong can lower the strength, but I can keep the same size because this is the look that I want to go with. I want to have a little bit more here in the center because the train is a little bit more pointy, it's rounded around here at the center. I would assume maybe most of it accumulates on the center and the edges of this part here. That's where the biggest splashes are. And then maybe there's like slightly less splashes going on here and here. Now we can also play around with the sizing through here by changing our constant. Additionally, I'm thinking of adding one more color ramp onto our roughness, that's right here. That's going into our B from here. This color ramp is also going to allow me to play around with how this is being distributed. I think something like this is not bad at all. Now. I'm just going to repeat this process also for this whole thing on the side. I'm going to follow you for one more, which is this one, and then I'm going to speed up afterwards. But also do not forget to save your texture. We need to go into our image editor over here here, save As, and be sure to save your texture in one of your texture files. All right, I'm going to now start with this left part here. I'm going to go exit my texture mode. Go into object, go here, go into my shader editor. This the cool thing, what you can do now. We can just take this lower part from here and then just put it in here. It's going to work just the same. Additionally, we can also take this mapping node so that arittures are mapped accordingly. And then just put it in here. We don't need this one here. We can delete everything on this side. Now it's really a matter of repeating the same process, where we add a mix shader, We add principle SDF. Now we just add another image. We can put it here. I'm going to press new, call this one mask side, wooden blank. All right, press Okay. Now I'll just make sure that it's a non color mode from here. Now we can actually, I think, go back into our color burn. Let's see. We can take the color burn, the color ramp. I think we can also take the color ramp from here. And just copy everything from there onto here like this. And let's just make a little bit more room for all the things that we need. Organize this a little bit so it's not so messy as it is right now. We push this in here, then we have this here, this goes into here. And we just need to connect the roughness into the color ramp. And there we go. We just pretty much built again, the same set up that we had before. It looks a little bit messy, bud. This is far from something very complicated. There's also always ways to clean it up a little bit. This way it looks a bit cleaner. Now we're back to just texture painting. Let's just go into our material preview. As we are turn on object texture paint, let's just start adding the details. Let's, let's see if we have the right thing selected. All right, maybe it's a question of color. Ramp again, it doesn't look like it. Let's see what is bugging us down this time. Because we're pressing this is working, there we go. So it was again, just a color ramp issue. Now I'm just clicking here, adding a little bit here on the edges. I'm going to make it smaller just so I can cover this part here. Just making sure that everything is nicely here on this part. I'm trying to match it with this here, even though I'm not making it very good job at that. But I think overall it's looking okay. Again, we can just go with this here now and play with how we want it to. We don't need to go fully all the way up. I think this is just going to be perfectly fine, something like this. So I'm going to speed up the video from here and then cover the entire part up to here, and then that's where we'll meet. Once I get here, I'll probably freeze the video because there's going to be a small issue around this part. One thing I forgot to mention earlier, don't forget to save your texture to the one that we created here which was called mask side wooden plank, UV image save. Now going back to my new one that I'm making, here we go. There's one small issue with here that has to do with basically how we had to rotate and stuff. So for instance, if you followed the same route and you just like control C here and then went control in here, then we also had here, let's take this one here, let's take this one and put it in here. In terms of our mapping, what I want to show you what's going to happen is that if we turn this mapping in here, you'll see it's rotated on different sides, essentially in here. You just need to take the mapping that's from here and put it in here. Now that it's using the same one, we can go back now to our same process. Adding a color ramp, adding a mix shader can organize this. I've realized that if you put everything like this upwards, stays a little bit more organized. So that's good if we push this here, push this here, push this in here at a mixed color image texture. Lastly, I don't also remember if I've saved my previous one again, be sure to save your textures. Wooden plank, side metal. I need to save that one. I'm going to save it one more time just in case if I forgot. Now I'm back to here. What I need to do, let me see. I'm going to press new. I'm going to call this mask Wooden blank back. Okay, non color. Let's push this here, this into here. Push this all the way here. Let's see what else I need to have color ramp constant from here. Here. And this. I think this is pretty much where we need to go. Although this looks completely wet now. Might have done something wrong. Let me just double check, There it is, made mistakes small here. Color ramp needs to go after our mix. There we go to clean up that. Let's go constant. Now, let's push it all the way here. Here we need to put color burn. There we go. Now if I go under my texture paint, let's see, Might need to push this a little bit more. Maybe I need to push my strength a little bit more. Let's see if I'm painting, I'm going to go into my image editor. All right. Something is definitely happening here, but it's not exactly what I want. Let's just go into the shader editor and see if I'm doing something wrong. Roughness goes in here, this goes in here, This is my image, goes into the color burn, this goes into the factor, but something's not right. Let me just take this one out for now. There we go. It seems like that might have done the trick. I still want to add it. Sometimes these things can be a little bit wonky. I still want to add it though. That's what I'm going to do. I'm going to go in here, add a color ramp, push it in here. And then now just do something similar to this. Let's just play with this one. Play with this one, and there we go. All right, we pretty much have our entire train nicely done in texture. Let's take a look at how it looks when it's rendered perfect. Let's go into our camera view. You can barely see it, but it is there and it makes a little bit of a difference. Now, this is not the only details that we're going to be adding. We're going to add a few more details as well. Don't worry about that, but already this is looking pretty nice, which is good. Let's take a look at it in our entire screen. So we can do is you can press control space. Let's see how this looks here. That looks great. Awesome. All right, don't forget guys, to save your textures one more time, I'm going to press control space, I'm going to go in here. I want to play around with it. If you want the witness to go more up, be sure you can do it. There's a couple of ways you can go about it. You can just play around here and push it even further up, or you can just go in texture paint it. Now, yourself manually, The choice is really up to you how you decide. Just don't forget to save this texture. 51. Texture Painting Algae Part 1: Have a boat on water for a very long time At the bottom of it, the part that's touching the water. Over time you start seeing this accumulation of algae. I guess grass or I'm not really sure how to call this exactly or what it is, but my reasoning here is that just the same as you have it with the boat, why not have it here also at this part of the train a little bit. Now, up till this point, we've used pretty much image textures and procedural textures to create this part here. This was done procedurally. This glass was done procedurally here. Then here we used image textures. Even this here was done through image textures, but also with a little helpful Photoshop. Our image here for the sky is from unsplash. For this mass, I took a little different approach. Over here we have our Textures folder. Here you have all our poly haven and Ambien CG textures. You also have our mask that we've created up to this point. You'll also find this mass to K texture. Now, unlike all these other textures, this one was created using AI. The reason for that was simply, I wasn't really happy with the results I was finding online. I decided to use Mid Journey to create this wet mass algae texture. While this may not look realistic and define off when you combine it with this here, it does get a pretty decent look. This is what we're going to be focusing on in this video. We're going to be focusing on applying this texture onto this yellow part. As a matter of fact, we're going to be applying this texture onto all these other parts. But I might actually separate this into a couple of different videos because it will take otherwise too long. I am noticing also here a bit of an issue with the reflection of the wood. And we're probably going to have to deal with this, do a final check up when we're done with texturing, just to see that everything is actually right. So this is like a small issue to remember for the later future. All right, in the time being now let's focus on working on this front yellow part here and adding our moss texture to it. So what I want to do first is let me just isolate this here because I noticed there was a bit of an issue when I was working on this file a bit earlier. This is mainly caused by how I applied to solidify modifier or not apply but added the settings here. I just need to push the offset like this. And then over here just go and push this, maybe 2.3 I think this does pretty decent job. I can also take this, push it maybe slightly. In words not too much but just enough like this, it's going to do pretty decent look. I was also thinking maybe just pushing the water a little bit more up. Oops. Because the water is definitely going to be also covering this part. And then pushing a little bit down, I can rename the water here. Instead of playing, just call it water. That's pretty good, and I think we are ready to start working. If I go into my shader editor right now, over here we have this yellow material. But if you remember, we also had the same yellow material applied to a bunch of different other meshes. We need to make this one as a new material separated from the rest and call this yellow moss. I'll just call yellow moss for simplicity's sake. All right, from here I don't really think we need this part because we use pretty much the same texture twice over here in order to just create a bit more variance so that there's not a purely repetitive texture continuously. So I'm just going to take everything from here and delete it. But while we're also at it, let's see, I actually deleted it from the wrong place. My mistake. Be careful in what you have selected. I'm going to select here and then delete it. There we go. So don't have here selected. Have it selected here. Yellow mass from here. I think I can just go and add my AI texture into here. And then go and see how it looks when it's set into the color from here. I can just go control Shift and click, this isn't really looking good. I think the reason for this is maybe we never unwrap this properly. I'll just click my slash key to isolate it. And then looking here into the object, I think I need to apply the solidify. So I'm just going to leave my edit mode. Click Apply. Now I have this, let me go into my sold view quickly. I think we're going to also add a double modifier just to maybe make these edges not so sharp. I think this is going to do a pretty decent job from here, since we're going to need to unwrap this. We can also, while we're at it, select all these edges in here. Like this. All right, And then we can press control and mark this as a seam. So that now let's go into our rendered view so we can see what's going on. Press A, and then to wrap, it's just going to use that seam to unwrap. And you can see over here we have that tiling from this side, but that's fine because this side won't be really visible. We're only worried about how it looks from here. Let's go and take a second to see how this is now being mapped onto our objects. So if I go into my UB editor and over here, type in mass, there we go, press tab. This is how our texture is being mapped. From here, I can just press L to select this island, then rotate it a little bit like this, push it into here, and then scale it like this from edge to edge. I think I'm going to rotate it like that. I think this side is giving me a bit of a better look, especially with this here and so on. Actually, I'm a bit undecisive here, honestly. Let's see. We can also put it all the way down. That's also fine. Even though this is being overlapped, because this is on the hind side, it's not really going to hurt us. Maybe something like this, it might be okay. So this is going to be your own personal choice. You choose how you think works best for you. I'm going to go like this. Excellent running back to my shader editor. I think it's time now to start working from this principle BSDF. I'm going to press Control Shift. Click on here just to see how this is previewing. I can push this here on the side. Add a color ramp over here, connect this color ramp like this and then push this into the roughness. I'm using basically color ramp to turn this image into a black and white value over here. So that can now play with which areas are going to be rough, which are going to be reflective. The dark areas are ugh, the other ones are going to be reflected. And it's going to give it a bit more of, I guess dryish look at certain areas where it's going to also have a wettish look on other areas. I'm going to duplicate this color ramp, now connect this one more time over here, I'm just going to reset, reset it by clicking here. I can push this maybe a little bit more here. And then over here I'm going to add a bump with this bump. Now I'm going to go into the height and here into the normal. This is the look that I'm currently getting. It's OkishIuess. But maybe I want to mess around a bit more here and maybe I want to mess around a bit more. Now, this is way too reflective. Maybe I can a bit like this, but it's still not giving me exactly what I want. Let's close this. Maybe push this even more here. Just keep it as is like that. Let's see what we have going on here. Can push this maybe darker. Push this a bit more. Push this like this. I just put it to the default state, something similar to here. All right, if I invert this, it does look to be going outside versus inside it. If I have it like this, I'm going to invert it to get this look. I think I'm liking it much more. If I close everything on here, then maybe if I turn this even darker, let's just see what I'm going to get. Now this is just a matter of experimenting, testing out, seeing what works, what doesn't. I do like it just being, maybe like this fully on one side, but looking at it maybe with the entire mechinal, I do think that it's to greenish. I'm going to go here, hue saturation value. I'm going to change the hue slightly down to maybe 0.45 just to add a bit more brown in ish to it. It also matches the scene a bit better. It's not also too saturated. I think this is also giving us pretty decent starting position for our whole thing. Maybe just increase the saturation again. You can go back and forth to infinity with this, but I do think this is giving us a good starting point from here. I'm just going to press Control Shift and click on this, do this, push this maybe a little bit here. Just preparing to add the remaining things from here. So instead of having to just add each note individually, I'm just going to select here, select here, select here, and here. With this four selected, I think I can just press control C. Go into here, Press control C one more time. Now I have almost everything At least connect to this, connect this one to here. Then over here I can just close this image texture, add a new one, type in here, times two. I can call this yellow moss mask. Okay, make it non color like this. Now, I believe is going to be time to texture paint. Make sure they have this selected so you don't paint on something else. You can go also into your image editor and then go here under moss mask just to be sure that you're painting on the right thing. That's like this. Go here under your texture paint and you can start, maybe increase your strength, but we can already see that something is here. The only issue is that nothing is really showing. I think the reason for that is most likely due to our color ramp here. Maybe it's a bit too aggressive, so I push it like this. Maybe if we go into our material preview, let's see, Yeah, now we're definitely getting something. Just be sure to adjust your color ramp over there. And now I'm just going to start painting first, this lower layer like this, it's looking pretty good already. We're going to add a bit here, on the sides, a bit here. Even though this part is barely going to be visible. But still something like this gets a pretty long way. I think this is already looking really good. I'm just going to lower my strength now. And then just press a couple of times to add it bit more here like that. And then just a bit more there. I really think this pretty much is it already. You can play around with this all you want. This is now on you and how you want it to look like. If I go now into our rendered settings and just take a look, let's see, this looks pretty good. Just right off the bat, this looks pretty good. I'm going to go object like this. I'm happy with how this is looking. So I'm just going to push this here to stay a bit more organized. Push this here, that don't forget. Before I close this video off and move on to the next one, we're going to be texturing this part. Don't forget to save this image. Go into your image editor and save your yellow mass mask. Save as here under the tutorial file. I can go into the texture file, I make, maybe a new folder. Let's see, 22, where's my textures? There we go, new folders, yellows, mask, Save image. There we go. 52. Texture Painting Algae Part 2: All right, for this video, let's aim to texture both this part and this. We're going to need to be fast but also correct in our approach towards these things. There are issues, even though it's going to be repetitive in terms of like we've done already, this over here and we've done a similar thing over here. There are constantly going to be some smaller issues that are challenges that we encounter that we need to solve. Some are big, some are smaller. But still it's also important and I want to showcase you guys how to deal with those things in here. Let's now start texturing this metal part here. Let's go into our shader editor. Really for efficiency sake, we can just go and copy everything else one more time. So we can go from here, take these four nodes that we have, select all of them. Control, go into here, control V, Just move them a little bit here. Then let's see what else we need. We need also the slower part from here, control C go into here control and there we go. I think we have pretty much everything ready. We just need to connect a few things. I'm going to go also enable my shortcut viewer because I forgot. Do that. Sorry for it. I'm going to connect this part here, connected here to the factor, so that I don't forget that over here, we need to just add our mix shader. There we go, like this. And this needs to go into the factor here, and this needs to go into here. From here, all we really need to do is just into this yellow mass mass that we have, X, and create a new mask. Put it times two and call it what's this called? Metal bron light, you might think, Yeah, this is good. I did a good job. Well, the issue here is, and I just realized it, and this is something that actually prepared for this video is this metal front light is also used in here. These two are the same. Everything that we did now here is also going to be applied here and we don't really want that. We're going to need to separate this object. Click this here. Let's call this one metal front light moss like that. Then over here, what we can do is just take everything out from here. Take this out. We don't need this. We don't need this, and we don't need this. This stays as is, while everything else remains in here. Perfect. Now, I think we are almost there. Have this here. Now, make sure that this is selected. Otherwise, you're going to be painting over texture that you don't want to paint. You want to paint over this mask that we just created. I believe we have everything else connected that needs to be. Let's just go here into our material preview. Let's see now what we have to deal with. The first thing I want to check is how is this texture being wrapped? I'm going to press control Shift and click it. Does not look that good at all. Let's try wrap this. Let's a smart project, 0.01 and there we go. So this is looking pretty good right off the bat. But there's another issue that you might not notice, or you might notice that. Let's, for instance, take this smudge here. You see the smudge over here. And then there's like this little smudgy thing here as well. And looking at it, maybe I want to. Let's see, invert versus invert. I'm not noticing that much of a difference, so I'm just going to keep it inverted. But let's go back to my point. You see this thing here, Let's take a look over here. It is exactly the same, but it is at the mirrored place. And the reason for that, why it's being mirrored, is because we have our mirror modifier right over here. We need to apply this mirror modifier. Then let's go into our UV editor here. Let's type in here mass so we can find our texture. Let's see how this is being currently wrapped. You can see this object here is not just in here, it is there, I believe twice, because it's being wrapped over here. And there's also this one that's going to be wrapped over there, just in a mirrored position. What we need to do now from here is just Smart UV project. Let's do this now. One thing that's happened, I'm not really sure exactly why this is. You might notice that these circles are a little bit stretched. I'm guessing it's because to fill in the position in here, that's my assumption. But I am just going to press X and then just try to make it a bit more rounded as it's supposed to be. It's not that big of a difference, but just for not stretching our textures too much, let's just do that. All right, now we have these two objects. If you look at here, this, let's just take a look completely different from what we have here. And that's exactly what we wanted. There is a bit of a seam happening here, but I don't think this is going to hurt us once we start texture painting. Let's go into our shader editor. Make sure that we have this selected. I think we have everything prepared over here. Control shift. Click here so that we preview our mix shader. Click this one more time, and let's just try texture paint. Make sure that the strength is all the way up. We can go here at this bottom part. Click plus we are texturing. This is looking great. I'm just holding my mouse right now, will have it at full strength and I'm just texture painting over it. I just want to go somewhere up to, let's say somewhere up to here, for starters, I'm just going to try to texture everything here, including this side as well. You might experience also a bit of a lag when doing this. And there we go. All right, from here I'm just going to lower my strength. Now I'm going to start clicking a little bit more around just to get these extra details. Almost like a splash or slow progression. There we go, on this side. Let's do the same here. As I said, you might experience a lag when this happens. Just don't click, stop clicking, then wait a little bit. And Blender should get back to normal in a second or two. And there we go, we are back to normal. I'm going to increase my strength just a little bit, so this goes a bit faster and might speed up this part of the video because at this point you already pretty much know to drill. Now I'm just going to move. Once I have this completed, I think I'm pretty okay with how this part here is looking because I'm mostly focus on this side here. I'm going to go and focus and do work on this guy here on this side. All right, let's look, let's see how this looks when rendered. I think I'm okay with this. Let's just take a look here. Yeah, I would say I'm okay with this. This is going to work fine. Don't forget. One more thing, which is probably the most important part is go into your image editor, find your textures and save it to go into my call this one just this is not the yellow moss mask, this is the other mask, or how do I even call this? See, this is where really, there we go, moss. I recommend adding mask in here and going image editor, Mask over here as well. And then here, mask metal, front light mask. There we go. Now let's just go Image save as save perfect. Now we have this texture saved and that's good. And all that's left for us now to work on is this over here. When dealing now with this part, there's a couple of challenges that we need to talk about. Let's go into my mass textures just so we can see. What do I mean by that? Right now this is wrapped this way and we probably unwrapped it earlier when we were working on this model or texturing. Get one thing that comes to my mind is, well, you could leave it like this if you want, but then the issue is that you're only having this area of textures that it's covering, being used. If you're painting, your texture is going to be, you're going to be very pixelated. Essentially, we might want to avoid that. Let's just first set up everything here before we move into the texturing phase. Let's go into our shader editor again, because this is called Top Metal, I'm going to assume that this is used at the top as well, and I'm going to be a right in this case as well. Let me just prepare my scene here, where I select everything here. Going to go in here. Click this, Call this top metal moss. Go into here. Put it down here. Push this here. Push this a bit to the side like this. Add a mix shader. There we go. We can immediately connect this one as well. Let's see what else we need to do. We need to go in here, take these four material, four nodes, and add them into here one more time. Sometimes it doesn't grab the selection. Perfect. Over here, we can just go take this mask out. Click, call this top metal mask, it's called moss mask. There we go, Make this non color. And let me see if I made. This one here is non color. This one here is SRGB. So let's just make this one as well, non color like this. There we go. Then from here, let's see, What else do we need? We need to connect this to here, and we need to connect this image into here. And I think we are pretty much now ready. Just make sure that you have this selected. Let's just preview this texture now. See, this is what we would, this is what we would have at our disposal. It's not bad per se, but the issue is again that it is much more plated. When you compare this here to this here, there's a couple of ways you could dirty solutions that you could do to make this work. One would be maybe an easy one. It was just if you go and you scale this, it goes like this. And then you would still have an issue of color per se. As you can see that's happening over there. This is maybe not the best solution that you should go with. An alternative, you might try, let's see, our UV square, this here, but then even though you are getting maybe a little bit more detail, it's still not there yet. Maybe the fastest way would just be to press, let's see what we get on wrap or when we Smart UV project. Smart UV project seems to get pretty decent. Look where I think we can. This here is the side, I believe. Let me just double check if I'm correct, but I believe I am. Yep, this is the side. If we just scale this like that, maybe it gives us the best of both worlds. The only thing I'm looking at, thinking right now, is maybe it would be cool if we just mirror this by 180. I'm trying to get this pattern going in a direction that's opposite of this one, essentially like this. Then let's see, we might be able to work with something like this. Let's see how this is looking. All right, This is looking okay. And then there's like a small seam happening right about here, but I think we can live with it because it's right at this corner. It's barely going to be visible. Let me see if this being separated, I believe it is. Now that it's separated, we could probably also match it with something. It blends like this. This be a pretty good starting point to paint our texture over here. Okay, let's see if we have everything ready for our texture painting over here. Everything is connected. This just needs to be connected in here. Then over here, we just need to make sure that this here is selected. If I go into my texture paint now, make this all the way strong and start painting, we are starting to get a look, that's great, let's just maybe play around with this. Get a bit more of that going on then. Maybe a bit too aggressive on my lower. Increase the color here. Too slightly lighter. Let's see, too strong. Let's just go back to normal here. All right, let's start painting with the first strength. Just this bottom part. For starters, you can go a little bit higher if you want. And then here as well, especially then here we have the back parts as well. All right, I'm going to now decrease my strength and increase my radius. Shift to decrease the strength and just to increase the radius. And I'm just going to start clicking a little bit like this very radically to get these off patterns. It's not purely straight and clean. There we go. I think I am happy with this result. There's definitely some room for more minor improvements maybe here and there, just cleaning things up a little bit. But overall, the way this is looking, I think it's going to be perfectly good. Let's just check out, now that we have it like this, let's put it into our render view. All right, let's go here, control space. Let's check out our scene that is looking great right there. I'm very happy with how this is looking. 53. Texturing Edgewear: A common issue that you might experience when working on this tutorial is let's say you just finished with texturing and creating the mask and everything and you saved everything. You've done everything. As I said, you've turned off your PC, you went to bed or took a break, turned it back on. Turn down blender again, open your project where you left off, and all of a sudden you notice there's a missing mask over here. There's no moss or algae or whatever. Maybe the wetness is gone or something like that. Well, if you've saved all your textures that you created, you should be pretty much fine. All you just need to do is go here into this file, find where you save the test mask, there it is, and just load it like that. You should be pretty much good to go. Also, one more thing that I decided to remove the invert and just keep it as it is like this. I think I prefer this look a little bit more from here. In this video now, we're going to be adding some edgewaresentially. We're going to be making some a war torn look on these corners. Not just this corner here, but pretty much all corners around here as well. We're going to be doing that here. We're going to be doing it here as well. I think that's pretty much it. We can also do it maybe here, but I don't think we'll need to. The ones where we're going to focus are here, here, here, and here. Pretty much everything that has yellow. Let's just go with that. All right, how are we going to do this? Well, I'm going to select this part here and maybe just look like this for now. We're going to need to make some space. Not too much, but just enough. So I'm going to push this something like this here. What I can do is I can duplicate this mix share, because we're going to need to mix this with something. I'm going to create another principle SDF that put it into here. I'm going to connect this one into the shader. And then from here I'm just going to make this one be red just so that we can see the difference. What we need to do in this video now, the goal here is to essentially tell blender to, through this factor, be able to distribute material one onto this side and then this red material onto this corners here that we want. How do we do that? Well, it starts off with node called the Beble. We just need to duplicate that node, this. Now let me just show you what this node is going to do. The Beble in here creates this edge. If I go in here and I increase the amount, becomes a little softer over here in terms of samples, then if I reduce the radius, it becomes really tight. So I'm going to push this one point 0.01 I'm going to push this to be 0.4 I'm going to keep this one for now, maybe make it eight and keep it like this, a bit softer from here. I'm going to add a mixed color, let me just combine these two together. We're also going to add a color ramp so that we can just see this as well in black and white. But also we can preview what the hell is going on in here, right? So from here, if we go maybe to darken, multiply, color burn, nothing really interesting that we need is happening. But if we come to difference, start getting this look, which is not really where we need to, but it's slowly getting us there. There's definitely issues also happening. As you can see in here. A couple of things we need to fix. First off, let's just push this here all the way, like that factor into one. All right, now we're slowly getting there. Perfect, Over here we're going to go into constant so that we can clamp down this value and make this edge much tighter like this here. Perfect. But there's another issue over here, it's not fully connecting yet. We need to basically do this little trick I found on the line where I believe we go from here in between these two, we add a separate color. We make this hue saturation in value. And then we connect the value like this. There we go. Now we can just clamp this down, or we can do something like this. Let's just push this a little bit closer. Push this closer to here. This is where I said maybe we need a little bit more extra room over here like this. Let's just see now how everything is going to look once we connect this color ramp here into the factor into this C shader. All right, we're definitely getting some edgeware, which is pretty cool. We can see it also everywhere, here and here as well, So that's awesome. Now another cool trick that we can do is in your folder with the textures, you might find one called surface imperfections. Now we've already used the surface imperfection. If you remember here that we got from Ambien CG, which was this here. Like water splashes, dried out, water splashes. And we're going to do something similar in here for this I found on art station. This one pack from ML Scri that has a lot of different surface imperfections that you can either download for free or you can get it from the tutorial pack here in the Textures folder. Inside of here it is called free surface imperfections. Inside of it, gli fid a bunch of free surface imperfection textures. The one I'm going to go with I think is probably going to be maybe scratches 11. Let's see. Also we have a bunch of these. You can definitely experiment how you wish to. I'm going to start off with let me see. I think scratches 11. I'm going to start off in here. Let me just frame everything. All right. I'm going to add scratches 11 into here and then I'm going to connect it to the radius in here. Now this is the look that we're getting so far. At this point, I think we can start taking out this red color. And instead of replacing it with something, maybe more believable, if this was getting some kind of scratches, I would assume maybe a bit more bronze looking dark, maybe something like this, and then maybe a little bit more metallic, something like this. I think this is the look that we're going to go for here for now. Additionally, I guess one more thing you can do is go into your color ramp, plug this in here, and then take it into a bump. Put that here into the height, and then height could go into the normal. Now this can be like that, a little bit more torn into. We don't maybe want to have it so much, can put it like 0.5 or something. Or maybe you can play around with this later if you wish. This is looking pretty good, but maybe it's a bit too aggressive, especially on this side. This looks worn off, almost like from a horror movie or something. We definitely need to tweak these values a little bit more. First off, I'm going to check how this has been wrapped around. So I'm going to press control, add my UV here. Let me just check how this is being mapped around my objects. I'm going to find what was he called scratches. Yeah, there we go. Let's see how this is done. Okay, so definitely want to increase this. I believe this is because the scratches are a four K texture. We definitely have some wiggle room to increase our UV mapping here. Regarding the repetition of the previous tecture. I don't think we need to worry because we're already adding so much detail, it's not going to be visible. All right, So this is looking much more detailed and much better, but it's still a bit too aggressive for my taste. So I'm going to go back now into the shader editor again, I need to make a little bit more room. So I'm just going to push this like that, push this like this, push this into here, make some room here. All right, there we go. I think what I can do now from here, that can help me out. Let's just move this a little bit more is in here. I can add a range node. If I go and add a map range node in here, I might even need to use this one to go into here as well. I can just now start playing with this minimum value that I want it to be, say something like this. Maybe 0.04 But then the maximum I can reduce drastically to, let's see, 0.2 or 0.24 This is drastically going to reduce the amount of edge word that's happening over there while still maintaining some of it. This is pretty good. I can go back in here and then play around with it a little bit more now really comes down to just tweaking the values to a certain amount. That works for you over here, I might increase the max a little bit. Then over here, let's see how this is looking Also, it's a bit aggressive on this side. What you could do, you know, one way of solving this is you could go and make this its own material and then separately do the changes in here. I might even go and do that now that I look at it. But there's one more issue with the door here. I don't think the door has been wrapped properly. So I'm just going to press a Smart U Project 0.01 Unwrap this. Okay, this looks much better. Let's take a look how this here is looking. All right. I think this is pretty okay, especially with the edgeware here as well. It has definitely been more on digressive side, but I don't mind it that much. Next thing we can do is just take everything from here, quite literally, and just go into here. Make some room like that. Control V, simply, let's see, connect this into the top and connect this into here. And we're supposed to be getting some edgewear on this side here. Perfect. I really think that this is pretty much it at this point. What you can do really, is you can make these guys its own separate value and you can play around with it. I'm going to go and make this one side because I don't want it maybe to wear it to be so aggressive over here. And then you can go into your map range and just play around with the max, maybe reduce it a little bit. There's not that many scratches, but you still want some edgeware here. Whereas in here maybe you want it to be a bit more aggressive. So you can go in here and the push it a bit more like this. This is really now your choice and creative how you want to do this. But I believe this pretty much concludes this part of the video. Also the majority of the texture we have. Maybe one more thing that's remaining that we can now do here in the final clean up, which is going to be texturing this here. You could also add some moss in here if you want because we haven't done that. This is one more thing that you could do on your own or free time, because at this point you should be able to just take these to copy it, add a new one. Feel free to also play around with that. I'll see you guys in the next video where we're going to be going pretty much one by one, just checking things on our train, doing a final texturing clean up to see if everything is on its place. And then also the replacing this white train here with all the elements from over there so that we have our fully functioning train. 54. Cleaning Up the Scene: All right, so we're pretty much done with all of our texturing. Essentially all the groundwork is right here. So now it's just about tweaking, changing things that we don't like, or improving certain things where we can see and so on. So the goal of this video is really to just clean up everything that we have here, replace this, and prepare everything for animation. Essentially, this is going to be the last video for texturing related things unless something really bad happens, but I'm hoping it won't, and that's what we're going to be doing. We're going to be focusing on this video to just improve the things that we already created. Maybe add some things that we missed and so on. We're going to go from this side and then slowly move our way towards the end of the train. A couple of things that I do want to improve here slightly. This is just a personal preference of course, but you might do this as well. You don't need to. I'm going to go in here, go into my shader editor. I just don't like exactly how this is looking on this side fully. So I'm just going to clamp the values slightly up like this, then clamp these values slightly up like that. Push this maybe a little bit down. Maybe this is now way too aggressive, but just something in between these two values to get this uneven paint look is what I was literally going for just a bit more. What this is more of a personal preference thing, but yeah. All right. Another thing is we can do the same here if you'd like, just to even things out a little bit. Just pushing this, maybe more in here, pushing this now, more in here. And there you go. Now looking at my render view here, there's one thing that has been bugging me that I mentioned I think earlier and that is how I guess glossy this is. And so then the water reflects. It almost looks like it's oily and I don't really like that. So luckily the fix is very easy. All we need to do is just track this, not this one, sorry. Drag this roughness map from the top texture here, just reducing it a little bit, something like this. We can do the same here, just reducing it to something like this. It does the job pretty good. And then we can do the same here. There we go. While we're on the subject of the train, I do want to also slightly alter, just darken this part of here. If I push this all the way down, this is just way too much, obviously. But if I, let's say something like this, I think I'm going to go more in this direction. So I'm going to go here in hex. Say this value, go into here, select it, replace it. Okay, looking at it now here, I might think that it's maybe a bit too aggressive to just slightly more increase it. Go back in here. Tweak it one more time. All right? I think this is the value that I'm selled with, so I'm going to go from here, This, then go in here. We just do the same in here. Perfect. All right, happy with this, let me just take a look at how my train is looking from here, going to full screen view, maybe zooming in a little bit, that looks great. Look at all these details and stuff that we can see that is perfect. Now, this is exactly why we also added so much detail. So can we do these close up shots? And I might actually settle for a close up shot versus going with the traditional one that we have in here. In the second variant that I, I think I might go with that. Let's look what else we can improve. A couple more things. Let's see. Now this lower part is definitely being very reflective as well. So we might maybe want to reduce that. I don't know, Let's just see how it's going to look if we change that too much. Oh, there's something very strange happening here. This might be some weird bug that is very odd. So it looks like we have everything of two in here. I'm not sure how that happened, but I'm just going to remove everything here that I see that is of two. I think that's about it. That's just strange. All right. Connecting the normal to the color. Sorry, there we go. That was just weird. All right, from here I do think maybe changing this up a little bit. Let's see how it's looking. If I do it like that, it's not as dark then as I hoped to be. Maybe just bringing it back, but then maybe pushing this here to be darker. Let's just see, this is way too dark. But just something like this might just be the right one. So I'm going to go take this value, then let's just see if we have any duplicates here. Thankfully, it was only a one case scenario. I'm going to go here just checking everywhere just in case there are no duplicates Last one. Here. Luckily no duplicates. There we go. We made this a little bit darker. That's good. All right. What else do we want? Let's see from here. I think the door is the next thing that's been on my mind a little bit. Looking at the, I think this is just way too aggressive. What I'm going to do is just make it a separate texture like this and call it from here. I just want to change this edge to not be so drastic. Maybe change the mint value. Change max value as well. I think this already looks way better. We can maybe also play with the values here. Change this. That looks pretty good. I'm pretty happy. Maybe just a little bit more. Because too much edge scratches, in my opinion. Let's see how this is looking. All right, that looks pretty good. I would say maybe we can just add a bit edgeware. Let's go take a look here. Maybe something like this. We see anything? Maybe a little bit more. Okay, that's too much. I can see the scratches. All right. That looks a bit better. Now, one more thing. I do want to go here into the right view. Let's go here under UV editor. Let's just take a look at the door. I'm going to go, instead of this, I'm going to project from view and then just go like this. I can do the same thing here as well. I'm project from view, increase the door size like this. Go here. Let's see, Shader Editor. What was the other thing? We just want to change this to be Metal Door, like that. Perfect. All right. What I know I've done this already a couple of times but I do think that want to push the sun a little bit more towards the train then off. So I'm just going to push this to 1509160, just so I get this highlights here a bit more like that, really liking that quite a lot. All right, so we've done here, we've done this, we've changed the door. That is great. There's one mistake that I did here, and that is not apply to mirror modifier. And kind of comment, bite me, maybe you have already applied to mirror modifier, but in my case I didn't. So unfortunately I'm going to have to work with that and re texture this part here. I'm going to do that a bit later. But while we're at it here, let's go and texture this here. And as a matter of fact can just go like this and call it, I don't know, connector. Maybe smart UV project is going to work here. Let's try, we have it. You'll be on erupt in case we need it. Can lower the color to be don't something darkish. Let's just see what color is. This is like grayish, dark, grayish, like this here. Then we can just duplicate this, go into here, make this one brighter drastically. And use a mix shader. Again, we just need to tell this mix shader to maybe give some edgewaar here to the corners. We can just literally copy paste what we have in here. Just this part here is enough. We don't need the images, We can just take this. That can take this out. We don't need, we don't need this. Push this into here and then just connected like that. Perfect. Let's just maybe play around with this so it's not so strong were actually it is a bit stronger. Let's see what we're getting here. This looks pretty good. I would say maybe reduce the values here a bit. Maybe something like this. Let's see how this is going to turn out. Maybe we need to increase the color here it is. A much increased. I'm not sure what more can be done, but just maybe playing with this, I think that's good enough. I do maybe want to make it slightly darker. I'm going to this, make it de This. Slightly this? Yeah. I think I'm satisfied with how this is looking. Awesome. All right, Last thing, but not least actually, we need to model something that I forgot to model. That is this small part here. There you go, Right over here. It should be fairly easy and it's a good, I guess, reminder of our modeling practice. All we need to do is just shift at a cube like this. Make this cube super small like that. We can even make smaller into Y axis, just like this, like that. Let's see a Z. Maybe I want to make it slightly bigger in height but then thinner over here. I would say this looks really great. Push this in here. And then maybe click here. Click here. Use the three cursor as a pivot point. So that I can just do this very subtle rotation. So I can get like this rotation. Look, all right. I think this one is slightly shorter, so I'm going to press Y twice and then scale on this end. I think this is going to be fine. Let me see, is there really anything else I need to do? Maybe just apply like a small bebble modifier. Apply the scale, everything is nice. And then just go segments times three. Reduce this like that. I think that's more than good enough. On one side, I'm going to use the bounding box. I'm going to shift the duplicate this, then let's say X like this. I do want this one to be in front. This is going to be the longer one. I'm going to put it like this. I'm going to click Shift, right click. So I can use again, this here as the pivot point. Because I'm going to now use the three decursor to scale in this direction like this. All right. Now it's really just a matter of getting the right distancing. I guess using it here one more time just to, just to scale this up properly. So it's like that. And then this side, I guess I could maybe push it like this, Y, Y like that if we really want. Now we could just maybe add, let's, we could add some thing that is going to connect the two. Maybe, let's see cylinder then we don't need this many faces. We can reduce that. Eights going to be perfectly fine, considering how small this is going to be. Reduce this into something like this. R, Y 90. Put it here like this. Make it shift or no shift. Y, no shift X. There we go. But I need to take out the pill point to be three decursors or just something like this. Perfect relic. Let's go like that. Then from here I can just select extrude, select everything, all these edges here. And then shift X. There we go, Shift X like this. I get this, look, this is barely going to be visible. But while we're at it, why not add a little bevel scale, reduce the amount, the sizing amount. This, add a third level or second one just to get something going on. I think this is perfectly fine, shade auto smooth, shade auto, smooth, shade auto, smooth. Let's just pre this now in our render view. Okay, I think from here what we just really need to do is just we can add the metal material here. Honestly, I was going to go metal, metal, metal, metal in here. There we go. We've added the metal part here like this. It works great. It does wonders. We just need to maybe join all of this into one object. So I'm going to press control J, it's this one object. Let me see if I want to try a different metal material here. Metal. What do we have for metal? Metal? Busier? Metal, light. I guess this could work fine. All right, let's not forget to add this into one of our rigs of the train. Take, put it into the train applied. Then from here, hold shift, I'm going to put it into the front rig like this. It's here is going to call, I'm going to call this connector metal or something like that. I guess it should be first position that. All right, and I think Just going to position it slightly rotated. Now that I'm looking at it, I'm just going to R Z it and then just position it. It's close to this here as well like that. Let's see how this is. It's a very small detail but I think it does add some value. I just press shift to reset my cursor. It's a very small detail like you can see, but it does add value. All right, we are now at the final part. We need to basically just replicate this side here. Put it into here, we can take out this whole rig that we have, right click, and delete this hierarchy over here. I'm just going to shift the, oops, let's just remove this. I'm going to select Hierarchy. Click Select Hierarchy, and then shift D. There we go. I'm going to go R, Z, 180 Y, and then go here. Just so I can clean up some of the extra things that I don't need here. For instance, I don't need this X. I don't need this X. I do. Well, I think I guess I'm going to need that one. That guy I'm going to keep over here. We have everything. Let me see. Do we have everything here? It does. Everything does seem to be else in place. So we can just go here and try to no connect everything how we want it. Let's see if these two guys are connecting. I think everything is pretty much connecting, honestly. Let me just go into my solid view, just see how this is. This is looking good, I would say. And then this here is looking good. Now the only thing, like I said, for me, the issue is because I've used a mirror modifier here. This side is purely identical to this side here. It's definitely mirror. It's a very small but annoying detail. And so I'm just going to spend now the rest of this video cleaning that up. But I mean, if you already haven't done that, if you already don't have that issue where that site is being exactly replicated the same. You don't need to do this, this is just me having to. So I'm just going to speed up now this part of the video until I'm finished. And if you already want to quit, go ahead, go to the next video. Or if you want to spend some time now with me. I'll keep cleaning up, checking your model. If you have missed anything, go ahead and do that. Everything here looks okay. There's one small issue I found that was a bit weird, which has to do with this side here and how it's being done. I'm not really sure what's causing this. Maybe it has to do something with the textures that seems to have fixed it. I just want to make double sure that none of my wood sizes are pretty much the same. There we go. That's great. I think this here is a bit too aggressive. Way too aggressive, maybe. I'm just going to go here under preview and conjecture. Paint this part down. Kind of like that. I can go here under the UV editor. I think this here and there we go. All right, so I think this pretty much concludes everything that has to be done in here. This is looking pretty great. I'm just going to rename this part here one and call it back rig one more time. And so everything in here is part of this. Now, the way we're going to animate our train is just going to be going like this. And that's pretty much about it. We are done with this video, and I'll see you guys in the final video where we're going to be animating our scene. And that's just going to be pretty much it. 55. Animating the Train: This is it. This is the final chapter of our tutorial. I think we only have like three videos remaining. So in this one we're going to be animating our train, setting up our composition a little bit. Next one is just going to be for the water. And then we only have the compositing for the final part and rendering welcome to the final chapter of this tutorial. Honestly, congratulations on sticking this long. I didn't expect this tutorial to be this long when I initially started working on it. But hey, it's been already almost two months when I started. If you've been watching it, if you got this far, congratulations really, really happy and really exciting. If you have any comments up to this point, please don't hesitate to share them. I'm really hoping to do a couple more tutorials as well. So this has been my first one and, you know, if you think there's any room for improvement, anything specific you'd like to learn. Anything specifically in my teaching style that you think needs improvement, don't hesitate to let me know. But for now, enough chat again. Let's start off with our video. So what we want to do now is we're going to be animating our train before we move into the animation. I do want to one more time visit my composition. One thing I want to do that I've been thinking about is just stretching out the y axis. This picture here that I'm using as a background and then just trying to move it a little bit here, let me match it more with the sun that's around here. There we go. I think this just works a little better and I'm really liking overall this. The other thing that's been on my mind is also since we've added so much detail, I think it's a wasteful thing to not have the camera be closer to the whole scene. I think I'm just going to push the camera. I don't know. Something like here we'll see. I think this is maybe too close, but maybe something like here. Let's see how much of our train fits if we have the train coming. This almost fits a way too perfectly. Let's just move this slightly bit more backwards, just so there's a little bit more room. I think this is right about where I want the train to be. This looks pretty good. Perfect. From here, I would say now we can start animating. This is going to be our final composition. I'm going to go here into the solid view. Then what we want to do is have the train start from here. And then halfway through halfway, I think we're going to do like a 15 second animation. 15 times 24 360 frames, halfway through 18162, maybe 22, something like that. So it's like 3 seconds, almost more than 3 seconds. Actually, we're going to have the train stop in the middle and then move to the left. It all starts with essentially adding key frames. I'm going to go here under N and under Y, because we're going to be animating in the Y axis. I'm going to press, sorry, Relic insert key frame. Or we could actually go Insert Insert single frame so that we just work with the Y axis. Since that's where we're going to do it, No unnecessary keyframe is added. Let's go like this. Let's go, let's see, 160. Roughly 160. The train is going to come here. Click Insert, Single Frame. It's going to stay here for some time. So selecting the last key frame shift we're going to go to maybe 240. That's 123, roughly 4 seconds more or less. But it's not going to be exactly stationary as we see here. Don't worry about that. Then it's just going to go away. Zoom like that, we never saw him again. Insert single keyframe. There we go. Let's just take a look at how this animation is looking. It's not going to be perfect, far from it. Let's see, The train is coming. It goes. It stops, Probably very abruptly. Yeah, very unrealistic and abrupt. And then it moves. I also think I want to move the camera just slightly, a bit more back. Just let me see comes here. I think this is going to be a solid base for our animation. All right, so a couple of things to work on now. Let's go into here our timeline. Press shift F six so that we can see our graph editor. With here our main train rigs selected. We can now go here, Tilda Rall. We can now see what we're dealing with in here. Perfect. Let's just move this like this, and let's just put this in here so we can see our scene a little bit better. Oh, by the way, this is such a nice angle. This looks so good. I got to say perfect. What do we want to do? Well, we're starters here. Let's just select our Y. We want to have to train, slow down much quicker, so we're going to take this here. Really sure how to call this Bezier curve, hook or point. Then over here we're going to take this one and then go like this. Now the train should be entering the scene very fast at the moment, but we're going to have it slow down. There we go. It's entering the scene much slower. It's slowing down here. We're going to have it actually, once it slows down, I'm going to have just move slightly bit more then I'm going to take this part here. I just move this slightly down. I'm going to take this handle here, press push it here. And I'm going to take this one, press S there. The idea is it's come here, slow down. But it's going to have like this very subtle movement when it comes and slows down. So we'll just connect this. Then here we're going to push this handle drastically like this. We're going to push this one drastically like this. The acceleration is going to be very rapid once it goes past our screen. It really fast, slows down, keeps very subtle movement forward. We might need to maybe subtly rotate this little bit. Just did a very small rotation. Might even need to do a little bit more to push this up to Z, just like this. Let's see how this is going to look now. Much more natural, there we go. Then it goes, the train stops, but it still continues this momentum forward, which is perfectly what I wanted to go for. It slows down, has a very slow stop, but it keeps moving a little bit more forward and then it goes back and accelerates. Excellent. We can even see. Let's just preview this as an animation, even though it's going to be very blurry. But let's just see how it's going to look like. So the train comes, slows down and then it goes away. Perfect. All right, then we have the water here. For the water, we do want to animate it as well. I think the easiest way would be to play simply with this factor. To animate the water, what we can do. Let's just push this here so that we have a bit more of a viewing space. What's going on? All right, let's move this a little bit more here that you can even zoom in here a bit more into the water. Maybe it won't hurt us, for starters, to just have it be in their material preview for now so we can see what's happening in here. We're going to go into our shader editor. Actually, let's see, where do we have our Musgrave, which is here. We're going to go here and add, I believe we need to type in frame. Let's see, this is what's called a driver that's going to help us drive this value. Now it's going very fast, obviously we don't want it like this. We need to go and maybe by divide it by 6,000 now it's much slower, maybe by 5,000 because it's way too slow. All right, this is looking much better. We could also maybe do this or our mapping. No, now this is your choice. Where do you want to move the water? Where do you want to move it? In this direction? In this direction, or x? This is purely now your choice on which angle you want to move the water. Think I'm just going to go here for a location. But it's, let's see, has frame divide by 5,000 Maybe I'm going to put it, let me see. I can put a negative 5,000 It moves like forward, a little bit like this. There we go. Let's take a look at rendered, how this is looking. Obviously it is a bit blurry. It's going to be hard to see. But I think this really good, we can maybe slow it down even more. I would say maybe we put everything to 6,000 so it's not so aggressive. Maybe even more. Let's see, 7,000 here for the speed then thousand slower in here, 8,000 now. It's super slow, very barely moving. Let's see in our material preview. Very calm water. Nice. We can also maybe increase it if we want. This is now up to you on the speed that you want to go. I think I'm pretty happy with how this is looking. Maybe I want to lower the distance so it's not so strong. Something like that. Let's just take a look at our rendered view. We had the distance at one. I might actually keep it at one now. All right, this is looking really good, and I think we're pretty much done with animating everything that we had to this scene. 56. Setting up Compositing Effects: I was thinking instead of animating the water in this video, because that's going to be a very heavy and intensive process and it is going to increase our Ndo times very drastically. Instead of doing that, let's first focus on our compositing. Adding some glow effects, adding a little bit of the aberration distortion to make this less digital and bit more like it came out of a camera. That we can then render our scene to test it out how it looks while being very light. And then once we nail all of our compositing, we can then go back and do the water animation. It's a bit of an unorthodox approach, but I think it's just going to save us a little bit more time because once we done the compositing and have the water time is going to be much longer if something is not good with our compositing. When did then go back? What I was just thinking maybe while everything is still going very fast, let's do it this way. All right. A couple of things I want to start off first, looking at how my camera is set up over here. I was actually thinking of maybe just adjusting it slightly bit more for the composition. Just pushing it Z, pushing it a bit more down like this. And let me put the train here somewhere in the middle so I can see better. Then I'm going to press R, Y, and then just rotate it more like this so that the train is, I guess closer to the middle to, I get a bit more of the water here, but also here of the train like that. Let's see how that looks. All right, I think this is a bit better then. We can also just see how the animation looks. So the water is moving here, the train is coming overall, it looks great, but our image is very static. So what I was thinking then is let's use the add on that we added called the camera shake. Let's add some motion to our scene. Let me just go here into the solid view so we can see how our scene is now looking. Once we clicked here and added this investigation, I think this is obviously way too aggressive. So what we can do is maybe change the scale. It's quite aggressive, may influence a bit, still quite aggressive, maybe less influence. This adds just a little bit of that movement. I think still it's a bit too strong. Maybe just lowering the speed is going to also help us do this. Let's see, while we're at it, I'm thinking maybe pushing the camera backwards. But then I would have to, because I do want it to be seeing just part like this as a station. But then I'm losing all the nice detail that we added. So this is going to have to be your choice on how you want to handle this. I do like the fact that I see these corners over here. It just adds a bit more value to me personally. I think I'm going to go with that direction where I can see the whole scene like this. But if you want, you could also just do a close up as we just had even push it closer if you want because we did add a lot of nice detail onto this train. So something like this also works really well in that case. So it's going to be your choice. I think I'm actually going to stick with this. So yeah. Hi editing Darren here. While I was going through this footage, I realized that I haven't touched the topic of camera settings in terms of composition and depth of field. So I just want to take a quick second to go over those two topics. Right here in our camera settings. Over here when you go here to the dead A properties we have under view per display, our composition guides. And these can help you quite a lot when working on your composition. You just need to enable over here your show overlays. And then if I go here, for instance, under third, you can have this, you can have the Golden Ratio if you want, like this. And I think this one fits the Golden Ratio. If you look at how we set up our scene, this is like what we were going for. You have all these other things. Additionally, one more thing I wanted to talk about is the depth of field settings over here, which is very common if you look at footages with cameras that are taken. Most cameras always have that blur and nice effect in the background usually comes from the depth of field. You can control this by enabling or increase or decreasing the F stop. If I increase the F stop, which is actually a lower number, that's how it works. You can see that my footage becomes very blurred. But it needs a focus object over here. I can just click say, the train. And then my train is going to be a focused object. And you can see now everything aside from the train disposition is blurry over here. But this is obviously very high level of F stop, so we can go much lower to something more realistic, maybe 3.5 like this. Or if you want to go maybe lower 2.5 something like that, it could also work pretty well. There we have it. The only issue here though is that because we set our side middle wood, this part here I guess as our focus point. Because this is moving, I'm not 100% sure if that's the best practice to have that one. The focus point, you can either select maybe an object that's over here. That static, maybe distinct here would be helpful because it's really close to the training should be fine. Or if you want to be even more precise, a common practice to do is to add, let's say, a null object right about here, where the train is going to be. So we can just have it over here at the top. And we can call this one camera focus. Then we can go here under camera, say instead of the side middle wood. Let's see, where is our camera focus that we just created? This one here. Now this object here and that we've created is always going to be our camera focus. Regardless, we can use that. Now, there you go. I just wanted to quickly gloss over these two settings to help you with your composition. Now we can go back to the tutorial. All right, while we're now at this, let's worry about our compositing. Now, I'm going to go here into my compositing, I'm going to keep my settings here. Let's put this 200 so I have a bit faster render. And I'm going to press Render Image. All right, so this is the image that I have on my disposal. I'm going to close this. I'm going to go use nodes and then over here I need to add shift a viewer node so that I can connect here and see what is at my disposal. I'm going to push this a little bit forward here, and now I know you can see my shortcuts. We're going to press Shift and then right click and go like this. I have this and I'm going to connect it here. This way. I don't need to add individual nodes both to this corner and this corner. I can just have this part here in the middle. To do that, I want to start off first with the glare. I think that's like the most important part that I want to work. We're going to have one glare. We're going to have two, and then we're going to mix them together. This one here, that's on top, I want to use what's called a fog glow, and I think that's going to be my primary glare. I'm going to reduce this threshold, so if I push the threshold to zero, I'm going to have this very dreamy effect. Now that is great, but I don't think I want it to be aggressive, so I might go to like 0.1 let's see, like that. I think 0.1 is actually doing a pretty good job, if you ask me. Maybe it's a little bit too strong. I see some clipping happening here, so maybe we need to play around with. Let's see, let's go 0.8 to strong, so that we don't see any glow. Now let's see 0.6 It's taking some time to render, but I can see a little bit of glow happening here. Let's go 0.5 All right, we're slowly getting there. I'm going to try to push this glow as much as I can. 0.4 Let's see, 0.3 0.3 is looking really nice, very dreamy. That's exactly what I want. Perfect. And I'm going to go into here. I want to this one here and I want to connect this to the image. All right. This one here is giving me this streak effect. I'm going to push this maybe to two. I don't want to have this many streaks. Maybe three. Yeah, something like this. But this is way too strong. So let me see what we can do here. This is going to decrease it slightly threshold. I'm going to maybe increase it a little bit. And then let's see, angle offset, I can play with that a little bit. And then over here I'm just going to push this. Let's see if it's half, so it's fully mixing one and the other. I might even push it to go like this, 0.2 Yeah, I think that this works really good. So we have a little bit of that streak happening at some corners here, but overall it's very dreamy like that. This looks really good. The next one I want to do is add some lens distortion for this. I'm going to distort it very little. It's just going to be like 0.005 So you're going to see a very small distortion, you can barely notice. If you go like really high, it's going to be like a fish eye look. So I'm just going to go 0.00 maybe eight, very low distortion. I'm going to put it here under fit, so it fills in the corners here, even though you cannot see it that well. Then dispersion is going to give me like a chromatic aberration effect. This is a bit too strong, obviously. So I'm just going to go and say 0.0 Let's see, 01. It's a very small chromatic aberration effect. Just enough. Then we're off to, let's see, Really, we want to just play around with our color balance. I think that's the key part here. What I want to do is push the lift into the blue a little bit, which is going to pop up these clouds and the shadowy areas make them a little bit darker, which is really nice over here. Then I want to my gamma here into a bit of a red to get a bit more of a warmer tone like that. And I'm going to do the same here with the gain, push it a bit more to the red side, but I think this is a bit too aggressive, so I'm going to push the lift a bit. Up that's a bit too strong, something like this. And then maybe gain also a little bit more up. Let's push the gamma a little bit more up. Okay, this is maybe a bit too much for all of them. I'll maybe just reduce the factor a bit. There we go. I'm going to push this, let's see if I can just push a little bit, push all of these a little bit down. Maybe also a bit too aggressive. Something like this is not bad. I just want to add a bit more brightness. I'm going to go and add a brightness and contrast. Now I'll just go here. Brightness shift, right click, push the brightness to 0.1 If we go like this is going to go really high. As you can see. I just just one case. Let's go 0.5 I think this looks pretty good. Then from here we're going to add one more mix, but it's going to go before all the coloring and effects and the distortion. It's going to go in here, We're going to be adding a texture, it is going to be used for our noise to give a bit more of like a grain effect happening. And to do that we need to go here, under brush, click, new here. Let's see, where is it? Noise. There we go. We can just call this noise like that. Then here we can select this noise, put it here, then add, obviously. Then we can reduce this to be 0.1 Let's see, it's still too aggressive, 0.01 and we could go to multiply, let's try multiplying 0.1 There's some noise, but not too much. Let's see if we go to one. This is way too aggressive. Obviously, this gives us just a little bit of noise happening everywhere in here, which is really nice. We don't want to also animate that noise. I'm going to go here and the offset. And press, I'm going to push this all the way here to the end of the animation. Here I put 360, press again. Now this noise is going to be animated later on, but I think this pretty much gives us what we want. Let me just shift right click here as well. Connected like that. Let's have our noise here for our noise so that we can have it like this accurate. And there we go. There we have our scene. Let's just render an image to see how our scene is going to look like. All right, This looks pretty good. We can see our noise a little bit here. Everything looks really nice. Let's see a scene where we have the train also in here. Maybe like 95, rest of 121 more time. That looks really good. We can see the noise here, the train here. There is a bit of a motion blur because in here under our render settings, we have our motion blur enabled. This is overall looking really nice. Then maybe I want to try a scene where the train is barely coming in, just so I can see how the blur is looking. Something like this, while the train is still relatively fast and we can see the glow from here. So let's do one more test render image that looks great. Excellent. I think now that we're done with the compositing, we can move on to animating the water wave effect in our next video. All right, they'll be all for this one. I'll see you guys in the next video. Bye. 57. Animating the Water & Rendering: This is, quite literally, it, The final video before we even begin, all I got to say is thank you so much for watching and sticking through 50 videos as someone who's been self taught by watching tutorials. I know this is quite a lot and it's been a very long journey. Thank you for sticking through. Thank you for watching all of this up till now. If you've enjoyed or didn't, even if you didn't enjoy it and watched 50 videos, kudos to you even more. But be sure to let me know. What do you think can be improved? What would you like to see in the future? I really hope on doing more of these videos and I really to improve with each video that I make so that the experience can be better for you. Do let me know what you think or what can be improved once you're finished watching this. Now let's begin with the final lesson. As you know in this video we're going to be building out the wave animation. We're actually going to be spending around 80% of the time building the animation. And then the last 20% is, is going to be setting up for the rendering. How is this animation, how does the wave works, and et cetera. This is actually my third time of building this whole scene through. Each time I try to improve it and learn how to make things better, and the wave part has always been the trickiest. The reason for that is essentially it's just going to depend on how you sit your scene as well. There's a lot of factors that are going to go into how our animation is going to look like. Let's slowly begin step by step and then I'll try to explain it to you for me. The goal of this video is to explain to you all the settings and how each of these changes impact one another. So that you can then build the perfect animation for yourself. Because this is a simulation, what I get in my results might not look exactly like you. All right, how is this going to? Well, for starters, we need to create an object that's going to mimic this train. In creating these meshes, we could potentially use this train, but this is a very, it's not that big, but it has meshes. It's very separated all of the parts. So we can make something much simpler that can be much more efficient in our process. What we can do is just go here under mesh at a cube. And what I'm going to do is go into the top view and just wait for the train to hit somewhere around here. So that I can line this cube better. I want this cube to be a little bit underwater because depending on how your object is going to be underwater as well, it is also going to reflect on how, what kind of waves it creates. So I'm going to push the cube a little bit more here. I'm going to then go here and push the cube like this. I'll take this part, push it a bit here. Let's see, push this like that. I have added a little bit of a loop cut over here. Push this a little bit more to the front. I could just, Let's do this. Let's see, maybe I don't think we need to even add a subdivision. We can just stick with something like this. I'm just going to corner these edges a little bit. Something that, or let's just go one less, something like this. Let's see, let's do something like this. All right? We don't maybe need to even have it be this thick. So we can go a bit more like here. I guess this part that we have in here, we can maybe make it a bit like this and then select this part. Let's deselect over there here. We might need to actually expand this a little bit more like that, but this gives us a pretty decent front part of the train. We can go into the edit mode, select everything, shift to duplicate it like this, and then z, and then type in 180 on your keyboard, and then Z to just put it over here, you can select this part, it's roughly over here, maybe a little bit more. Or is this like that? This is going to be our base mesh. It really needs to not be a lot of details. Just something like this is going to be enough to disturb the water and give us the waves that this train will usually create. Next, we just need to take this into the train applied, we can call this train waves. And then holding shift main train Rick, just like this. Perfect. Okay, from here I think we can now start adding the waves. As you can see, if I press Play, the object is being animated because it's inside the main train. Rick, let's keep this visible for now. Here, we're going to actually hide this water. We're not going to use this. We can go at a plane scale, that plane. Let's something like this here. Then maybe scalativen more. It's around here covering the camera. We can hide this here. Then we can go and add the water material. Let's call this water waves. A couple of things. The quality of the waves is also going to depend on how dense this mesh is. Right now, it's just one plane. So if I go into the edit mode and I click subdivide 123, and then let's say I go into the subdivision surface so that we can add the modifier and I remove the optimal display. And I press the semicolon, or if you haven't added the shortcut, you can go here, press the wire frame. You can see how many of these you have. This is going to be very little, by the way. We're going to have to go way more just for context. We're going to probably have to go this much, but we're not going to go this much at the very beginning. Because then our animation is going to be very slow for now as we slowly moving forward. Let's keep it low to something like this. All right, now it's time to add the physics properties. While I have the water waves selected, I'm going to go here under the dynamic paint, I'm going to press canvas and select add cannabis under the surface types. I want this cannabis to be the waves. Now we have this part here set up. Next we need to add a brush. We go again into the dynamic paint and the brush is basically going to be the object that's going to disrupt the canvas that we have. Now that I've selected here, put the brush, added it, and I go, let's say it here to the very beginning. Let's see. Just make sure that this object is a little bit more underneath the water. I would say something like this. If I press Play, you can see it's already a third to happen now, I just going into those shade smooth and here we go. Now as I said, depending on how many of these we have, the quality of our waves is going to be better. But the more we add, the scene is slowly going to be laggier. As you can see, once I go to pass six, it just gets crazy. This might also depend on you as well. Just be clear sure of what you're doing in that case. Let's talk about now the settings. Well, one thing that I found to be working for me that is breaking the rules a little bit is I wouldn't apply the scale at all. I wouldn't go control a and then apply scale Something that we would usually do. Something that you're usually told in a lot of these tutorials to do. In this case, for me it just would mess up the waves from the outcome that I wanted to be. I kept the scale as is, and as a matter of fact, I even played with it. And I'll show you a little bit later how from here. We have a couple of settings. By the way, if we go here under the physics properties or the canvas, we have timescale. Timescale essentially just is for the waves. The bigger the timescale also, the more the waves you have. If you see here, if I reduce it, it looks like you're going on snow almost. But then if I increase it to 150, it goes like this. This is what the timescale setting does. Then we have the speed. The speed is quite literally, as it says, the faster the waves, or if you would reduce it to 0.20 scroll all the way to the left, the slower. But something very interesting also with the speed is it can go slower than 0.2 You just need to type 0.1 for instance. Here it works. There we go. At this point I think we can just hide this part here. So we can press here, this, and I can hide it from my render. But we need to keep this one here so it affects our situation in the view part. All right, this is what we're getting so far. Sweet. Let's go into our settings a little bit more then. There's damping. Damping gives also that snowy effect. If I go all the way to one and I increase the damping, you'll notice it creates that hard surface effect. If I push the damping, let's say to 0.5 it becomes a little bit more mushy, a little bit more like jellyish. Then if I increase it all the way, let's say to point 0.05 then it's looks like water, which is what I want. All right, then there's the spring. And this one is very weird to me because I don't know. It says here, if I hold, hover my muscle, it's the spring force that pulls water level back to zero. My logic is that if this is one, then that means the force is supposed to be stronger and the water is going to go faster to zero. But when I do a comparison, and now from here, let's say I go to 0.01 I don't see that much of a difference. As a matter of fact, at 0.01 I see it being much calmer water then it is. At one, as you can see here. I'm going to keep this at one for now. But this is going to be the setting that I'm probably going to have to experiment with as I move along. All right, then we have the smoothness. Smoothness is fairly important because that helps us smooth out the mesh a little bits. As you can see, if I decrease the smoothness, it looks like this. You have all these brakes happening. But then if I increase the smoothness, it looks much cleaner. But I think you don't want to go way too smooth, so you might want to be somewhere around four. All right, here we go. This is what I get. Then let's see the last one which is if we click on the train waves, there is here under waves there is this one called depth change type here. We can just change this factor to be, let's say, something stronger. And then it's going to impact how much it affects the objects of the waves are going to be stronger or weaker. For the factor I'm going to put in here, negative, actually 1.5 I found out that I've put it to negative, I get a very nice effect here at the front, which I like. There we go. Now there's this weird situation happening over there that we need to also address. This is the part now where we can also try out these, I think. But I don't think I found any, any results. I think by the default value was the one that worked for me. So you can see depth change. But yeah, this brings us now to the final part, which is talking about how to adjust the mesh. If we go here and add one more, our scene is going to start lagging like crazy, as you can see. Now we need to stick to five. But what I found out was as well, if I adjust the way that this topology looks, for instance, if I scale it in the y axis and I get a bit more like a shape like this, it actually works better. For some reason I'm going to go like this. I'm going to reduce the scene a little bit, to condense it a bit more, then make it a bit more like that. If I have this like cuboid polygons, if I go here, check out the scene, this works quite great. Another thing I found as well is that maybe I could just go and slightly increase this here. The scale in the z axis, that's also going to impact my waves a little bit. But before I even go and do that, what I recommend doing is baking your animation, saving it into the memory. If you go here under the physics tab and I press bake now it's saving the animation here like that so we can see how it looks like. As we can, I press here S Z and increase it a little bit. It's going to add a bit more higher waves over here, which is pretty cool. There we go, Think in my case, let's just see how this looks like. This looks very interesting. I'm going to reduce the spring to maybe 0.5 but then every time you do a change, now we're going to need to delete the bake like this. Then bake one more time. Now let's see what's happening here. Very cool. Looks very nice. Now I can go here and maybe increase the waves a little bit like that. One more thing that you could do potentially is add here the substeps, which is extra frames between scenes. It smooths out the motion a little bit, but the more you add them, I think it goes up to ten. The more you add them, longer it's going to take for your scene as well. I'm going to go bake one more time. Here's our scene. Let's just see how this looks like. It's very nice. One thing I would do here is just check how it looks like when rendered. Let's see. I think the water is maybe a bit too bluish for my taste. You might want to just go here under material and just take the water blueness just slightly down to something like this. All right, let's go back to solid. This is almost there. One more thing we're going to need to I. Recommend adding one more level of subdivision then we can apply this. Let's check out how it looks like. You don't necessarily even need to maybe apply it. Let's go back one more step. Let's just check in terms of the mesh. Yeah, I think this is going to be barely enough. We're going to need to now bake this one more time, then we can do a render. I'm going to bake this. It's going to take definitely longer now because of the scene being bigger. There we go. Even if I try to preview it, it's going to go slowly. As you can see, this is pretty much the final outcome that you can expect. What you could do, maybe just push this Z to increase that wave slightly a bit. Oops, that's pretty much what you're going to get. That looks really nice. Let's take a look here. If your animation is lagging, you can go here under plate back and say frame dropping. That way you're not sacrificing the speed, you're just sacrificing the frame. It is still lagging, but it's going roughly the same speed that you would expect it to go. This looks I would say pretty. Okay. Once you're done with that, you could maybe do a test here to see based on the current settings that you have. Let's go here. Max sample is 100 open image. Noise We have motion blur turned on. Let's just render one image. See how long it's going to take. Not bad at all. I'm getting 12 seconds per frame, which is pretty good. I would say that means add either more detail to the mesh or let's see, add more samples. I go 200 samples here, that's going to be double. I think this is pretty much it depending on now whether you want to do your compositing and inside after effects. But then the one that we did here doesn't necessarily apply to you or you want to just export it as a video. You can go here, choose either PNG or you can go here and choose a video and click Render Animation. That's pretty much going to save your file, play around with these settings that I just showed you, and try to get an animation that works best for you. As I said, once again, seriously, thank you so much for watching. I hope you've enjoyed it. I really look forward to seeing you in one of the next editorials that I do. Thank you.