Blender 3D - Model and texture a stylised shield

1. Introduction: Low poly 3D assets are great for games and real-time applications. I am Hashanah well-done. Join me in this class where we create a stylized low poly shield from scratch using Blender, we will start with modeling, where we learn the correct approach to 3D modeling for such objects. We then go to sculpting, where we use displacement maps and alpha brushes to add cracks and damaged due dates. We will then bake these details onto mesh maps, such as normal ambient occlusion and curvature map, followed by a full PBR texturing session. Finally, we will extract renders of our shield and also make a 3 16th turntable animation to showcase our model. I'm excited to share my knowledge, tips and best practices for low poly asset creation in Blender, giant know, and I hope to see you in the class. 2. Importing The Reference Image: Hey, before we get inside the modelling, I wish, I want you to understand the concept in detail. Let's go ahead inside our exercise files. And instead of which we have a concept image. I'll open that. And here you can see the concept. And first of all, analyze what you see here. So this is basically a shield. Shield can be treated as a planar surface. We can basically start with a plane and then the form, the shields form. Here you can see the details of the shield. So try to imagine a plane. We first create a plane and then we add more loops in the plane. Then we can basically ship out those loops by pushing and pulling the vertices. Didn't we match shields shape like that. Here you can see how we have a curve. So we need to be adding loops this way. So there'll be 123 or four loops here. And we can basically pull them in to get the scope. And same way for this curve as well. We can add loops for the same plane and we can pull that in. Thus we get plane in shape of this shields cut out. It's like, it's like a paper cutout, right? So it's a plane which is basically going to have this shape of this shield. Once we achieve that shape, the outline of this shield, we can then add the details. Here. You can see inside that we have one more loop which follows the outline. This is basically like an inset of this planar surface. Then we'll create that inset and we'll continue that instead. And create this mid shape like this. This is the approach that we are going to do. I'll repeat that we are going to make a plane and we're just going to follow the outlines of this shield. And then we'll go inside the detailing by adding an inset, which means we're adding more loops, then we'll extrude this wall over here. The reason why we're extruding this is because this is the metallic part, while this part will be our wood. That's why we are creating a lip on our outer edge, which will be Metric. Alright, So with this understanding, let's go ahead and start modelling this off. I'll close this and I'll open Blender. And as always, I like to use some kind of real-world scale. Because using the RightScale will give you a lot of good results in terms of lighting and in terms of modifiers. Because modifiers always work according to the scale. That's why I always advise to keep some kind of scale accurate so you get the right ourselves. Let's get started. First, I'll import this reference image. Go to my front view. I'll open a file browser. I'll click on this concept and drag and drop. And there we go. We've got this concept here. I'll press Alt G. This snaps right to the ground there. If you want to see what skills that I use is I will get inside scene properties. And here you can see I'm working on a metric scale and I have get the unit scale to 0.01. Here. I'm using centimeters to model this. I want this to be approximately 17 centimeters tall. So how do we check this as we'll add another plane of 17 centimeters, then we can just match this to that plane. So I'll add a plane. Let's rotate that. This plane, as you can see, it has the dimensions of two centimeters. We need 70 rights. So on our y-axis, I'll just press, just click on a y-axis there and press enter 70, my numpad, and this is the size of our shield. I'll select the shield and scale that up. I match this Blaine. It may not be accurate, can be rough dimension. So we have got that. Now. I'll get rid of the spleen. I'll push this reference image a little above. So I'll use my move tool and select this image and put this on the ground somewhere there so that touches the ground. Alright, right, so let's go ahead and rename this. Say this is meaningful reference image and get inside our object data properties, properties manner. Check the opacity and get this opacity down to 0.5. This is because so that we can see something that is behind this image and we can see the model. Or I just would like to work with a little demo reference image so that it doesn't obstruct our view. With that said, let's go ahead and lock this reference so we accidentally do not move this. Select our reference, and get inside here, and click on the filters on outliner. And make sure you select the selectable filter. And let's go ahead and take this off. The cost of debt. We no longer will be able to select our blink. Great. Let's begin modelling now. 3. Getting Started With Modelling: For that, again, as I said, I'll be using a plane. So make sure your 3D cursor is in center of the world. If not, you can always press Shift and see. Your cursor always falls to the origin or the center of the world. Let's create a plane. Now. I will say shift a and get inside Mesh and add a plane. We have a plane. Rotate this on my x-axis. Now I'll get inside edit mode by pressing Tab. I'll select all by pressing a and scale this up. Move this plane here. I'm basically going to make this plane the size of shielded. So it basically needs to cover up entire shield. Then we can go ahead and add the loops to detail this out. This plane now covers almost entirely. And scale this up a little on my x-axis like that here. Okay? So as you can see, this is symmetric form, which means we can always use the mirror modifier in conditions like this to make this symmetric, to make the model symmetric, I'll add one loop right in the middle by pressing Control R, and that adds up a loop. Then we have a loop that runs right in the center. Now, I can go ahead and delete 1.5 of our model. So I'll select these vertices and press X on my keyboard and click vertices to get rid of that half. And now we only have half of our model. To make a meter. Let's get inside our mirror modifier and say Add Modifier and get inside middle. And make sure you turn the clipping on here. This will always ensures that you don't have double point in the center. So I always turn the clipping and merging on. We have got the middle setup now, all we need to do is just work on 1.5 and get the outline read. The other half automatically follows it. So now it's all about adding loops by pressing Control R and then using the Move tool to just move the vertices and edges so that we get our outline looking right. Okay, so I'll start adding loops. I'll be using Control R as a shortcut to add loops. So I'll press Control and add a loop there. A best step while adding loops, this you need to know where you want the new resolution or new loops for the geometry. You don't need to add loops where it's not necessarily, always add loops where the absolutely required. A good way to find very unique loops is when you add a loop on the edges, you will always need to add loops on the corners. So when I move this till here, you can see the outline. We have a straight outline, but we need more loops or more vertices in order to get this shape. That says that we'll need to add loop over here. Now, we need to add loops here so that you have the ship getting insane. So now you have a curve there. This is how you need to analyze where you need loops. So wherever there is a change of shape or change of curvature or you have a corner, make sure you have loops there. But adding loops here is absolutely unnecessary because there is a no change of shape in the outline. There is no point adding multiple loops here. You will just be increasing your resolution without need. And thus you will also be increasing polygon. So avoid adding loops where you don't need. Now let's go ahead and shape out. We just drag these points in here. Here you can see we have a different curvature. We have a smoother curvature here. So we'll add loop here and one loop over there. Let's drag these vertices inside. We have better looking curve that matches, that matches our shape. So I'll continue to add loops on the bottom half. And so I'll add one day like this inside, something like that. So I'll add one mole this out. As you can see, the mode loops where we are, we are able to shape out our shape. But be careful if you add a lot more than what is required, it is very difficult to shape your mesh user. You should always be in the sweet spot where you need exactly the loops that you require. Not more, not less light. So let's add one loop over there, and let's push this out. Suppose this is this, it protects out and same here. You can see how the geometry is traveling here and we'll be needing a loop over there. So instead of adding a loop, I have one extra point over here, which I'm going to position it right in the center, somewhere there. We have got some shape that's going on here and we have roughly matched outline. And let's continue to match it on the top. So I'll be adding a loop one over here, and I'll drag this still there. You can see how this edge flows here. All right, So I'll catch the topmost. I'll catch the top vertex and push this up. And this can, this vertex can go to the bottom like that. And we have got that, we ship and of course we'll be adding more points here. These points, and it'll load something like that. Now you can see the edge flow. What I feel here, this edge can be flown a little more optimally. What I mean here is we have one free vertex that's, that's right here. So we can connect this vertex to this edge and make a nice U-shape here. So let's do that. I'll press K on my keyboard and connected till there. Again, press K and connect this inside our middle, like that. Now I can get rid of this edge here, so I'll select that and press X and say this on edges and that gets RID and we're back to GW art-based topology. Don't worry about this detail here because we'll be making an inset which will give us the details necessary. Here. I'm not going to match this with this code over there. You can see that we have got really spaced out geometry, so we can add one more loop in here. I'll add one there. And this runs nicely and we get a little more evenly spaced out topology. So I'll add something like that. 4. Adding Metal Details To The Shield: The next thing what we can do is start shipping out the inner detail, which is this here. So I'll pull these points and start shaping out this street in there. And I'll just move all these points so that we have good flow in topology, that's it. That out. And pull this vertex inside. Something like that. Use this vertex to make the corner. Something like that. Now let us go ahead and add some more loops here. I'll add a loop here by pressing Control R. Here you can see we have an edge that flows to this point and this vertex and it flows down like this. So I need some resolution here, right? So instead of this edge going this way, I have used my knife and cut off a new edge that we have one more vertex to aid in our modelling. So I'll just pull this in like that. Now we need to make a corner here and we need more details there. I'll go ahead and use my knife again, escape. And from this point I'm just going to make cuts to lead. And I'll just move this out. Alright. I'll just move these edges, this edge, I lose, move this loop little below. Because as I said, we're going to make an inset, so we're not worried about the inside line. We have got somewhat outline which we want. Let's continue shaping. I'll select the top one. Looks almost fine. Now let's go ahead and shift the bottom. And as I said, we'll be making an inset. And here you can see that these edges are following after that point, which will be an issue when we insert, select these points, are these vertices, and I'll move them up. Like that. You can see the distance between these two edges. You can continue the similar distance here. Select this, pull this up, let me know. There we go. So we have got that and now I think it's a good time that we can make an inset. So I'll select all and press I on my keyboard to insert this. We can make an inset that roughly matches are inside curve. So once we have the inset, I'm pressing the G, or you can use the Move Gizmo and place it roughly where you'd like it to something around there. Yeah. We'll have to make changes to this so that we have the details. Let's again go inside our vertex mode and from the top we make the shape of the inset, right? So these points are looking fine. I'll use my lasso. But we can move this and place it somewhere there. This can be moved out. This vertex. I'm basically selecting the vertices and I'm creating the shape in a design. Match this vertex up. This vertex which will be on wooden part. This scan goes something like that. Now let's go ahead and match the inner they then I'll select this vertex and push this out. Go out. Further, go out. Something that you can see that we don't have, we don't have an edge here. For that, Let's use a knife tool and connect these two vertices. And let's end up, and we have got a new point over that. And we can move this. Do we have a shape there? And the same way we have a curve here as well. So we'll need another cut there. So I'll use the knife and I will make a cut here. This also gets us the quart need here. This two limb. All right, We have got the detail here. So when I use the Face Selection, you can see the detail that we need is exactly there. We have got our outline now we can go ahead to our next step. Now, before we do that, I just wanted to give this some thickness. So we have some 3D object or 3D geometry to work with. I'll select all and go ahead and extrude this on my y-axis so we have some thickness to somewhere around it. Now, we can go ahead and give our metallic part and extrusion outside, which will have to select this loop. Along with this, we need to select the inner detail as well. So I'll select these. Make sure I just have the front face selected and not anything at the back. Now, I'll make another extrusion on my y-axis, so I will put us be and why extrude it somewhere? 5. Defining The Center Panel: You can see that the next retail, but what we need to add is the edge that runs in between these phases. Let's add one more loop. Right in the middle. We have a loop. I added on the wrong side and undo. It's added on the front. We have a loop that runs across, so we don't need the loop to continue here. Instead, we need the loop to be joining this half of our model. How do we do that is we need to cut points. I'll go ahead and use my knife tool and make a cut here to there. And match this point. These points we have regard that runs well. As you can see, we can add one mode detail here or we can add one more loop here so that we have the curve looking more, looking better. So I'll add another loop here. By pressing Control Up. Made a loop. This curve needs to be matched properly like that. Yes, we have got this also becomes, this phase also becomes a quote here. That is fine. Since we have joined the mid line till here, we don't need this edges that is running till here. I'll go ahead and get rid of it. Select the edge due to the bottom. And press X and say this all edges so that we can get rid of it. And now we will need to connect this with the center so that this doesn't run without any issues. So go ahead and use my knife tool to connect the LED. And I will select this vertex and that vertex and press M and merge. At last. We have a merging point there. All right, now it's fairly simple. We just need to select our limited edges and simply move this out in the y-axis to get our shape. All right, so now we need to work on the part. So I will use my face selection and select all these phases and press I to insert them. And this time I'll do a border and set by pressing B. This gets a borderland set. And we can insert it like that and match these. Again, I will select the interfaces. And this time I'm going to extrude it. So we get a dip and say, I'm going to press E on my keyboard to extrude it and say, we have something like that. This, I do not want the shape to continue. This planes to be flat. With all those faces selected. You'll need to press S to scale on your keyboard and press white, which is the axis. And just enter 0 on your numpad. That will scale at Blaine in the y-axis to 0, which will make it flat. Alright, so we have a flat obtain there. I'll do that again. I will select the required phases, but as S and Y and enter 0 on number to get this flatter surface. 6. Making The Edges Sharp: We have got the base form ready. Now, let us go ahead and give this some smoothing and let's see how this looks. I get to my modifiers and add modifiers and say subdivision surface. And here you can see that this looks well, but we don't have these sharp edges or corners. The way we add that is by using bevel modifier and an edge bubble rate. So let us add another modifier and say bevel, and put this modifier about subdivision surface. So we have a bevel there. Now let's change the limit method to wait. Now it's just a matter of, I'll isolate this, select my model and press Slash. To isolate this, we need to mark the edges that we need shot. I'm going to get inside-out edge mode and select the edges which I wanted to mark shot these edges. For a moment, I'll just switch off our subdivisions so we know what we're selecting. So let's select this and delete it. I'm just going to sharpen these edges. Let's try one. Before we mark everything. I'll select the entire loop there. An entire loop at the back. Because all these edges needs to be sharpen. This press Control E. Or you can go and say an edge and say edge beveled weight and put the value all over to one. We have bubbles only on our map areas. And now let's turn on the subdivisions to see how they look. We need this edge to be shot. Here. You can see the sharp edges like that, so that's looking fine. So let's go ahead and do this for all the edges that needs to be sharpened. Just subdivisions. And I will continue marking beveled weights. Here. When using Edge bevel rates, always make sure that you get the factor all the way to one. And keeping the factor that any value that is between 01 will not give you a better less than. So it's always like a Boolean operation. You have one or 0. Mark these. The middle segment needs to be sharp as well. Middle edge. Let's check our concept once. You can see how the sharp edges runs and you can find the sharp bends here and there and that meets the edge over here. Let's do that. And these edges as well. Let's try subdivisions now. You can see that these also needs to be sharpened. Select switch off subdivisions. That similarly on the bottom, on the insights. So you can see I'm just switching off subdivisions each time I'm going to mark and the edge beveled rates so that I'm very sure which edge I'm using. And you can do the same as well. This curve here which we do not want to wait. Here you can see a curve which we do not want. Again, it's made mark right here. We get a sharp probe over there. This needs to continue all the way to the back. Select this. All right, Now let's change our shader to check how that looks. Shinier. There you can see another curve. So H alone one, mark. This as well. Needs to continue. Yeah, cool. 7. Adding Details To The Back Part: Let's go ahead and make the backside and it'll better. I'll go ahead and turn off the subdivisions. On the backside since it's a metallic part, this is going to have a thickness and the same board is going to be on the back as well. We need to differentiate that wood and metal. So similarly, we have a thickness on the front. The same way the back is also going to be thicker wherever the metallic part is, which means we'll be using our extrusion to do that. I'll go ahead and clean up some edges on the back. Here. I want to continue till here, till this point, not like the one we have done on the front. So I will just go ahead and merge these m At last. We've got that munched. Metal on the back will run across like this instead of having the bed because we don't have a mid segment on the back. Push these and continue shaping their own. This can be merged here. At last, selecting the loops all the way down there. And let's press E to extrude this. Oops, forgot one. Extrude this out a little bit. There. Let's make the edges sharp here as well. This loops that we shot. Same way I found the front. I'm just selecting the ones I want. The sharp edges control E, edge pebble rate. These needs to continue. Similarly there. Whichever I just had a sharp on the front needs to be sharp on the back as well. All right, let's turn on our subdivisions. It looks neat. We have successfully made the outline and we have extruded, and we're almost going to be finished with modelling. So I wish to check out the concepts. So I'll move this concept with this. Select our reference and move this to the same. Check how that looks. Here. I feel we have a lot more curves that's going on. So I don't want to have this loop over here. Select that, that loop which we created essentially. I'll press X on my keyboard and say dissolved. I'm okay with this club. That's going right over here. If you see, we can see that there is some detail which can be brought in. And I'll make this edge shot. Again. Use my move tool. Just pull that up a little bit. We have those lines continuing. Our concept. Release down. Make this edge shot as well. This out just a little bit. So we have a little more definition and character to our shield over there. Now let's change the sharpness a little bit of a bevel up the segments. Right now, increase this to 0.3. Something like that. 8. Creating Bend Using Simple Deform Modifier: Now we have got the shape ready. Now let's go ahead and bend this shields so that it looks like a shield. For this, we'll be using performance. The simple deform modifier. Get switched off our reference. We don't need that anymore. Make sure you have the 3D cursor in the center. I'll press Shift C, and I'll add one empty, empty. And let's add arrows. Make sure it's visible by increasing the size. Something like that. Now, select our object here, and let's call this a shield. Let us add a modifier which is called as simple deform. This deformed, we need this to be a bend. So I'll select the bend. Now, we'll choose the origin, has an empty. Put this on Z, and that will basically deform or chill and give us the band that we need. Increases a little bit. We have got the band working right? So, which is great. So we just model this from a plane. If we wanted to model this bend, then it would've been really difficult issue. And you can see that we don't have much deformations on the mesh and it looks appears very clean on the highlights and reflections, which is a really good thing because we use the simple deform modifier. If we go ahead and manually do this, then we will definitely be having some surface issues and will need to be resolving it by pushing and pulling vertices endlessly. There'll be have a surface that has this kind of quality. You can see how these reflections appear on the surface. And it's really good to see. We've got a clean mesh with goods surfaces. 9. Modelling The Clamps: Since it's a modifier, we can go ahead and switch this off and on whenever we mourn. I'll switch this off. And now I feel I can add a little more details to our mesh at this point of time. Little more detail in terms of, let's add some clamps to this model so that it appears much more realistic and good. To do this, I'll go ahead and enter edit mode. And I'll select these loops here. And I'm just going to press Shift D to duplicate this. And I'm going to press P on my keyboard to separate this selection. This is become a separate object. Now I'm just going to make an extrusion. I'm just going to make an extrusion of the vertices. Have a clamp like structure. Alright. Now I'll select on and just scale this up and move this inside. Scale this up. This is going to be a clamp which we need. We have got the clamps structure here, bringing these outermost faces a little more unsafe. So we can see the clamp. You can see that we've got some shading issues here. Now what we need to check normals if we have issues like this. Let's get inside viewport overlays and turn on face orientation. And you can see that entire mesh has flipped normal. We can select all and press Alt and on our keyboard and say recalculate outside. This gives us the right normal switch we need. Here you can see that some edges have a different normals, which is why we had that shading issue earlier. See something like this. We'll need to recalculate normals for this. Select all hold N and say calculate moments. And this gives us the right normals. We need. Switch off the face orientation and skip this a little inside this In. Make sure that you make it touch our mesh as much as possible. Make it touch our shield. Okay, great. Now let us add solidify to this so we have some thickness, so I get rid of. So I'll add the solidifying and select this clamp and get to add modifier and say solidify. Put this solidify above subdivision surface and give it some thickness. I'm giving the thickness in the minus because we want this glance to be extruding out, not the other way inside. So I will say minus 0.5. We have a clamp over there. Select these and drag this up. So that becomes a clap. Yeah. I increase the thickness just a little bit to 0 minus 0.7. Let us go ahead and duplicate this clamp everywhere. We need. Just press shift D and put one on the top. This just a little up. Rotate that. Duplicate this one more time. And planes one on the bottom. Alexa, we have placed the glands as well. Now let's go ahead and switch on the symbol, the form future on this simple form for the gland. Now since we have extracted this clamp from our mesh itself or from our shield itself. It has copied all the modifiers to it, which made it really simple to just turn on the simple deform and we have got the clamp that's following our mesh. Now let's take this in our shinier matte gap. And yeah, there we go. It looks right. 10. Modelling The Handles: Now let's make the handles at the backside so that someone can make use of this. She'd go to the backside. Now I'll make a plane. Rotate this on the x for the state. So this will be our handle. To use the sheep. I'll just extrude from this point. And extrude, I'm just making a shape of a C. So this will act as a handle and just push this till it gets to the back and push this back. Something like that. And let's reduce its thickness. Scale this up. Continue to shape the handle and we need this to be larger. Let's give this some smoothing. By adding a subdivisions and right-click and hit Shade smooth. Let's give this some thickness by using a solidify. Due to some thickness like that. That looks fine. Let's make the handle a little bit. And once we are satisfied, we can just go ahead and duplicate this. Two here. Just wrote it to match the plains of our shield. You can be creative and you can rotate this as well a little bit. Let's add loops here and pull this out. Let's go ahead and rename this as handled. Alright, so we have got the handle and now I feel we have done with the modelling. And the next phase would be to UV unwrap this. And then we can forward to tension. 11. UV Unwrapping The Model: Let's go ahead and mark seams for our shields so that we can use them to unwrap. Switch off simple default. We need seams in. Materials like the wooden part will be a separate island theme as the bag and the metal will be a separate. So it's that simple. Let's go ahead and start marking them. Get inside you were editing. Start selecting the edges for themes. Maxine here, and define the mid part II and say Maxine. We don't want this clear theme there. All right. We're marked themes for this word and fame way in the bottom, same as the backside as well. So select the edges. Let's go ahead and switch off subdivisions so we can see what's happening. Better, less maximum in terms of islands. And I press L to select and use the UEs. Seems. You can see this is an entire seam here. This will be our wooden part, same way on the backend sweat. This would be our part, so that's the thickness. And then we have one metal here. Since we have marked the themes, now we don't need the middle anymore. We can start applying some modifiers at this point of time. So I'll go ahead and switch on subdivision and our bevel again. And simple the form as well. You can go ahead and push this simple deform above the subdivision surface. And you can push it one more time so that this sits right next to the middle. This is not affected our machine anyway, I'll go ahead and apply the mirror first. Apply. Simple deform can be applied. Now we have a mock seams with the mirror modifier here automatically, the seams continue on the other side as well. Now let's select all and plus you and say unwrap to get a clean and wrap of what we have. So this is what we get. I'd like to turn this this side. Somewhere there. I will select this one and rotate it. One AT Summit, like that can be scaled down. Now, we need this part to be a separate one because we are planning to add some pattern in here. I'll go ahead and select only the mid part. I select these faces, the front field, and go to unwrap. Get this out. Select only the middle portion and I'll scale the stone in our stone. Place it somewhere. Or we can go ahead and scale that down. Because the size of this roughly is stood here. So let's maintain the theme and I'll place it somewhere. Within that. We have got our shield, which is UV unwrap. Now let's go ahead and add a checker texture to see how this looks. Add one mode. So I'll make a new window here, new report. And let us say we need something called a shader editor, and let's give it a new material. Let's call an image here, Shift a and search for image structure. New. Set this to you in grid. And 1024 is fine. Say, okay, connect this to the principal. Let's check the material preview. You can see how architecture is unwrapped. And you can see some stretches happening here. Especially on the regions here. You can see how it actually stretched here and it will just not good. But this is not happening because of the geometry. It's entirely because of our bevel modifier. What we've got, we can make the segments a little more three. When I up the segments to three, that issue goes off and we are having good-looking UAE. I will put it to three. But you can see that on the edges, they're not very good. Texturing is happening here. So let's go ahead and bump this up two, One more time to fall. And now you can see how these stretches disappear here. And put this again. So 34. You can see how that accommodates for the stretches. And now we have got clean and sharp but looking lines. Let's go ahead and select the other bots. Model. You and unwrap. All the other parts, get unwrapped as well. I'm just pushed it somewhere where it doesn't interfere with our model. You can always check that by selecting all and entering edit mode at the same time. Just catch the middle portion and place it somewhere else so it doesn't interfere with our other objects such as the clamp and other things. There we go. We have successfully and wrap our shield there and the pictures are looking fairly good. Now we are ready to go into the next step where we are. We can sculpt this out and the sculpting mode and see how we can use alphas and other stuff here. 12. Assigning The Vertex Groups: All right, so the US look fine and we've got a nice checkerboard texture here. Now let us go ahead and apply modifiers. And let's get started with a sculptor. I'll go ahead and get to my solid view. Now we're just going to apply the modifiers. We won't be needing the a pebble anymore. I'll just go ahead and apply our bevel. Then I'll take off the subdivision surface. Similarly, I will select our lamps over here and apply middle bevel, solidify takeoff the subdivisions, and apply for the form. Alright, so we have got low poly version here. Apply modifiers here as well. So I'll take that off. Now we have got all the objects in our scene now, we'll go ahead and join them to make them one. So I'll select the clamps, I select a shield, I just select the handles and Control J. The order is important, so I'll select the clamps, I undo, select the handle, and then I will select the shield and press Control J. So all of them come and join with the sheets together as one partner. Alright, so now let's get rid of ui here. Here you can see how they have come up here. For our, for our handles are here. And then now UVs for lamps are here. Check one more time how they look in the checker. And they look well, I didn't find any issues here. Now, we can go ahead and give it a multi-resolution modifier for sculpting. Select and get into add modifier and add a multi-resolution. For this weekend, subdivide this all the way up. Now. There are two methods now. One is that you can directly grab your stylus and your tablet and you can start giving details like whichever way you want, the wood grains and everything can be manually sculpted. And there is also one other way where what we can do is we can use textures and give some displacement maps using the displacement modifier big that inside our multi-resolution. And then we can use a hand sculpting or using alphas to give some details like cracks or crevices, etc, and some damage, stuff like that. I'm not going to get inside manually sculpting everything in at this point because it is a time-consuming process and it is having the artistic, it takes its own time to do it. What we'll do is we'll go ahead and use a misplaced modifier and give it some maps. I've also included some maps here. And really what I want here is that the wooden region here, the middle portion will have vertical wood planks like this. So there'll be blanks going like this. And then there'll be a greeny kind of a metal which is the outside. And the clamps can have a similar language of the metadata. Let's go ahead and use the displaced modifier. You need to split your, especially where you have multiple materials into one object. In those cases, we'll be using vertex groups to split them and give only displacement. That particular vertex group. They wouldn't part will be a vertex group. Let's start giving vertex groups according to our ones. I'll select the wooden part, whatever is wood needs to be selected here. So these three panelists needs to be selected together. There'll be first, so that'll get inside Object Data Properties. And then under vertex group, I'll click Add Vertex group and call this as board. And say Assign. We have got the vertex group is saying to check it if it worked or not, and say de-select, to de-select that and select that again, this vertex group gets elected. That's why we see only the wooden part getting selected grid. Let's do the same for the metal as well. I'll select the metallic portions. To select it. I'm just pressing L. While I'm inside. When I press L, it selects the link. The link where I'm going to use urease sin to select only that part of it. Since seams and our materials are very linked wherever there is a material split, there is also a there's also a seam in this case which is lay this worked well. This is another place where you want the metal. So I'm selecting that by pressing N, and now I'll create a new group and I'll call this metal and say Assign. And we have a saying that. Then finally the middle portion and select that and give it a new vertex group. And I'll call this center part and say assign, de-select, Select to confirm that you have assigned the right group. Select the metal, select. 13. Adding The Wooden Plank Details: Cool, so we have got the right vertex group assigned to each. Now let's go ahead and give it a displacement map to see what it does. Now, I want to have this resolution or the mesh resolution to five so that we get a better displacement. Now this may be a little slow on, little slower PCs, but that's okay. You can wait. I've got my resolution to five. Then let us add a misplaced modifier. I get into add modifier and say displace. And really having a displacement map, no. Alright, we have it. And now here you can see I click on new displacement. And I'll call this S first. Then my coordinates needs to be set in UV. Then my direction is to be normal. And my vertex group can be chosen as good. Alright, so we have selected our vertex group there. Now let us go ahead and give it a detection. I will say in our texture properties, I'll go ahead and open. And inside of Maps, then you can see something called stripes. I had open image. And yes, we have got stripes opened here. You can see those links like this. But the issue here, what we are experiencing is we have our UVs in, we have two different orientations in LUV, different one is facing this side and the backside is going the other way. That's just see these two. This is the front panel and this is the back button. You can see that the back panel has a different orientation than different dependent. Now, assume that these stripes run across like this. Then the front panel will have the stripes running vertically and the back panel will have stripes running the other way, which is exactly what we are undergoing. Now. As you can see, the front panel and background are different, which shouldn't be the case. You have two options here. One way is to change this UV map and make sure that these two are aligned properly. There is one more option where what we will do is we'll add another UV map for this. So I will show you the second option. We'd go ahead and create another UV map. I'll get inside object data properties. Uv maps. I will call another map that has greater than other map. And make sure you pick this one. Select this one. And now you can see that this ui, which is UV map zeros 01, will have been selected. Yeah, exactly. I call this as UV map. Standard stem means for temporary because this is not the UV map which you'd be using. This is just for the displacement map and then we'll bake it and get rid of this map. That's why I'm calling this. Once we have got that, we can go ahead and adjust the USEF. You remap them. Make sure that these two are facing the right orientation. Just move these off for now. Select these and rotate this 90 degrees and put this roughly over there. You can get this back. I mean, I can move this here. Bring these guys somewhere over there. We have got the temporary map ready. As soon as I get out of the edit mode, you can see stripes coming down in the right orientation. Now, even here, you can go ahead and adjust it more. If you want more stripes, you can see the map here. The stripe map looks this is automatic. Yeah, so this is what is the map that we've given? This way will be positioning of our stripes here. So if you want to have most stripes, you just need to scale this up like that. So you will be having more divisions in your stripes like that and something like that. So we are having alone 123456788 stripes. So I reduce the size a little bit. And let's place it somewhere. Where our middle portion lice in the black spot of stripes, the black lines and the middle of this line corresponds to that. Greece. Over this way, we can avoid ugly-looking divisions in the middle of our shield. Let's put it like that. Now let's see how this looks. Get out of edit more. And yeah, that looks pretty neat. I'm happy to wait, as you can see, since we have matched the midline in the middle of our shield, we have guard that midline coming like that. Alright, nice and neat. Set the UV map to them. Once we are happy with this weekend, go ahead and see applying. This will be built into the fifth level of the multi-resolution modifier. You can go ahead and change the values of strength to see how that looks, but I'm pretty happy with how it has come out. So I'll go ahead and apply the displacement and apply this. And this has been applied and now this has been baked into our mesh. 14. Adding The Metallic Surface Details: Similar way, let us go ahead and apply a displacement for a metal to again add modifier and get inside. It displays. Got this. Click on what it says. But we are going to change the wooden texture here. Something like open and mental underscore bump in our exercise files and other maps. I'll select the middle underscore bump and open image. This is getting us really fine bumps. Let's go ahead and adjust it. Here under the coordinates at this view. You can set the UV map as UML vertex group as method. And now you can see that the displacement has only come to the metallic part, which is why we give different vertex group two each. So let's go ahead and reduce this number to 0.1 as the strength. You can see that there are really fine bumps. I'll let you point to that looks like metal, so I'll go ahead with that. And you can copy the same in here as well by just adding these into your vertex groups. So I'll just press L in my edit mode to select all these clamps. And I'll get inside object data properties and assign this methyl group to all the clamps, and get out of edit mode. You can see that this texture has come up on our clamps S1. This is depending entirely on the scale of us that can be adjusted in our attempt map. That's just the way we adjusted our wood. But now I feel happy with what has come. So I leave it as it is. We have got the metal and this would 15. Adding The Wooden Surface Details: Now let's go ahead and give some other bump for the wooden green as well. Let's select this again and get inside modifiers. And this time I'll go ahead and apply the displays here as well. So I'll press, I'll open this and say Apply. And this will again bake the displacement inside multifidus. Level five. Again, a displacement. Open this word. Again, us get inside the texture and call another texture here. And this time I'll call 035. So let's open image here as well. We need to set the coordinates to UE, and then we need to change the vertex group. Remapped will be remap and it's called temp. And then our vertex group will be set to wood. Right? So we had getting the grains of the wood here. Exactly. But this is a little too much for our detail. So I'll go with 0 to put the detail back a little bit. You can see that how our greens are getting affected. By this way. Let's go ahead and 0.3 maybe. All right, so I'm okay with three. Now you can go ahead and turn on the cavity if you wanted to see the details on our viewport shading to see how this has come out. This is pretty much good. Let us go ahead and switch this off again. I'll go ahead and apply this. Displace applied. This is also applied to Martina's. Finally, let us go ahead and do the center part. 16. Adding Patterns On The Center Panel: For the center part, I have added one more map so you can access that. You just need to open image and there's something called as front we did. You can open that. This is different detail. For this to work. We can make use of the temporary UV map. And please this front view we exactly on that. You can see that this is a map which has black and Greece. This would really work to get us the displacement or that we need. Again, add another displays. We've got a disgrace. And this time I'll say the vertex group center part. So this only appears on a center. Then I will set this to image and say, Would we have got would only on this end apart. Now this needs to be changed. So I will get inside our texture properties. And here I will call a new texture. This time, I'll call the front D-Day. We have got different detail here. So the issue here is that the UEs are not aligned to here. Let's go ahead and do that. Select the edit mode and select only here, only the middle portion. By pressing L, we have got the UE selected. And you can see how the UE side and make sure that you are in the UAE. And Matt temp, the reason why we did this is because as you can see, you are basically mixing. You resort to, you are adjusting gear, the VCR in terms when you unwrap the UVs. Not only in this case, take some other case. For example, when you unwrap a URI, you will set up the layout according to your wish. But after you come to the scoping phase where we add displacement, that setup can change which we don't want because you spent a lot of time in adjusting your UVs to get the best layout that you wanted. Here that those layout will no longer makes sense. As you can see here, that we are the one who plays the map here, but it doesn't make any sense now. In order to change the US only for displacement, we added one other UV map, which is the UV map underscore temp. In this way, you can adjust the map according to your wish at any point of time. Let's push this up. Please. Scale this up. It seems fine. Tab out of edit mode. You can see something like this has come and you can change the coordinates to UE. Since the UV map S MP. We have got the detail here as well. And I like to increase the strength to five. It will be like two. Seems fine for me. I keep it to two. And now let's go ahead and apply this displays. Again. Apply. This displacement is also now baked inside the Mandela solution modifier. Now we no longer need a temporary we mapped so and go ahead and change this back to UV map and select that. This can be turned off. It's no longer required. Now you are again back to your existing UV layout. You can check it here. This was the way it was earlier. Let's go ahead and save that. At this point of time, you can go ahead and experiment or stats carping and start giving your own details. But you saw how it was really easy to add displacement map and give the primary details before even touching sculpting. Now after this weekend, go ahead and refine our model using sculpting. 17. Adding Cracks And Damage Details: Okay, So we have got the textures on displacement and it looks nice. The next step we can do is to add some imperfections, some damage, some scratches are dense on our shield. Now at this point, you can go ahead and do this manually. You can get creative and sculpt by hands. Or if you have alphas it then you are welcome to use your own Alphas. But it will not be doing much on here because the purpose is just to demonstrate alphas on this 3D model. Let's go ahead and call alphas. I'll get inside our scalping. So we have our object there, get inside our brushes. And I have selected the drop brush and make sure you're in the direction of subtract because these alphas, what I'm going to give will be covering inside the surface because the dense or the cracks or cuts should be coming inside. That's why we are keeping this negative value. Then in the detection of the brush, soap on detection. And I'll say New. And get inside the texture properties and say open. And let us get inside Exercise Files and alpha. Then you can see that alpha underscore three. So I'll open that right now. Scale this up so you can see the size of the alpha here. Like that. Let us get inside our mapping. Sin one is one that's fine. Get inside our brush properties again into mapping. It should be in view plane instead of dialing. That's why even when whatever we see will be projected on the mesh. So when I click the problem here is this looks good, but it also appears on the back. I'll undo and get inside our brush. Check on front phases only. This will avoid anything going to the back. Again. Scale this up. Autocratic there. That's it. Do I give it some more rotation and rotate it? Autocratic somewhere. Like that. Scale that down. Support one on the edge. Like that. Notice the strength, the higher you have that, the deeper you will have the Alpha. As I said, you are free to use your own Alpha to do this, I'm just adding some random bins and damages here using the same alpha. Yeah, something like that. Now let's change it. And open. This time I will be using the Alpha-1. Let's continue adding some damage. Some smaller damages. Rotate Alpha in our brush, something like that. So we have added some damage. Let's call another Alpha, which is the Alpha-2, which just like damages. So I scale it down and add it on the metal part. One can go and make damages all day long as much as he likes it. For the purpose of this class, we stop at an early phase is you can go ahead and experiment with the origin alphas. You can give the damage your way. You can do it by hand sculpting or by alphas. Put it like that. Small images here. I'm just adding some damage details using malloc for keeping the strength low. So it's not very perceivable, but it's still there. This gives us a nice surface. When light shines on it. Yeah, that's great. So now let us again load one alpha, which is the Alpha-1. Because I need some cracks somewhere over here. Yeah. That's about it. Then let's go ahead and scale this down. Push this up a little bit, and just add some damages on the metal partner. That looks good. Some over here. Just gives it some kind of character to our sheet. Just placing random damages. All right, enough of this, let's take our script brush and let's get our Alpha of note texture here. 18. Sculpting Imperfections: Scale this up a little bit. This starts scraping of the sum of the edges. Can be scraped off like that. Just add some more drama to chill. Some scrape on the top edge to some over here. You can be very random and doing this. Or even have a story to say you can do that as well. It's up to you. You can basically see that how easy it is to create something like this in using displacement maps, multi-resolution. Some alphas. Quickly get us the results that we want. This stone not concerned much about the back portion, but if you want, you can add the details on the backend. Let's just continue doing this clip. The edges. Square root of this edge. We have added some damage and we have views these great brush to scrape some of the edges and give it some dented look. Alright, so let's stop here. If you want, you can go ahead and do it more. But for the purpose of this class, let's end it here and let's get to the, let's get to the next step where we talked about baking this and we extract Maps, mesh maps like the occlusion and normal maps, and also curvature map so that we can use them all to bake a low poly mesh. 19. Baking The Normal Map: Okay, so now let's go ahead and big this details into a normal map. We're going to pick the mesh maps. This is going to really help us to do a low poly texturing and even for entering. So let's go ahead and do that. Get out of sculpting by grading and do the shading. We are in the shading. Let me go ahead and take this off. Right here. What we can do is really create a new picture. Shift a search image. First, real big the normal map. I'll create an image structure and say new. For normal maps. Let's go ahead and keep the resolution to 2048. Okay. Let me change this to UV editor. Let's get inside. You can see that we have got some patterns here, but this looks really, really small. So this might be an issue. So we'll just select this UV and scale this up a little bit so that we have good amount of space for the big picture here. Get out, say Come here. Here, I will call this as normal. Let's call this as normal map and put the color space as non-color. Let's add a normal map input here and connect the color inside our color and normal to none. Got the normal map ready. We can go ahead and select the object and select the normal map and get inside your and keep the multifidus to one. We have one elementaries and we can go inside our render properties and make sure you set this to cycles and CPU and come under big. I would say it's combined. I check the big from multilayers. We enable the Mandela's Baker and it says normal. Now we are good, too big. Finally, just make sure you select here and keep the map open right over here. So we're good to go and select the big type enormous and the margin is set to 16. And please put this to faith. Maybe I'll put this to ten pixels and click on big. Yes, we have got an enormous neatly big. You can see how that has come up. It's looking good. We can go ahead and save this map, an image, and save S. Let's put this into our maps and call this S normal man. Save this image. And that's great. We've got enormous. Let's check how this has come. Get inside material preview. You can see all those details have neatly come up in the normal map. This black to see how this has come. Nice and neat. We've got the normal map now let's go ahead and leave the other months. 20. Baking The Ambient Occlusion Map: Since we are baking the others, I'll take off the normal for now. Select that and get inside multifidus. And put this back to five. Again. We have got the high-resolution mesh and let's add another image texture. This will be odd ambient occlusion map. Say New. And say, Okay, we've got the map loaded, make sure you select that. And we can bring in a node called the occlusion. I'm just going to search for it. And there we go. Now let's go to the render view to see how they render view, we'll definitely take some time to load, since this is a higher resolution mesh, which is okay. I connect V. I'm using Control and Shift. Clicking this will just hold Control Shift template. Make sure that you have the add-on called us know, triangular enabled in order to do this kind of work in the node editor, I didn't see you can simply connect the cable and check how this looks. This is the arrow that has come. If you wanted to adjust the hill, you can go ahead and put the distance. I will increase the distance. We have a little more occlusion and I'll add color lamp. Here. Let's just change the RAM. You can see how nicely picks up the crevices on our mesh. Wherever there needs to be shadows, we are getting a nice dark shadow around it, so I'll increase the distance small for them, somewhere around ten. Maybe 20. Yeah. We are also getting details around the clumps, which is nice. We can reduce the blacks if wanted. So I'll put it somewhere like that. Otherwise it's getting really dark. I leave it there and we have got the ambient occlusion going on. This data can be baked into a map, which is the aroma. So how do we do it? We add shader called S and emission shader. Plugging the emission and plug this in here. I know that there are other ways that you can bake the map, but I find this has much more control than to do what we need. So I've plugged in the emission shader to this office and we have got the plugged it into the emission shadows with this grid. Now let us go ahead and do a render properties. Make sure you are in a cycle cylinder engine. And under the Render properties, you can see the max sample sector 49 to six, which is a lot for baking. I will just set the max samples to five. And then what I'm going to do is get to this render properties and a check-off, the big Chrome idealist and the bait type, I will set this to MIT. Right now it's ready to be big. And here I'll call a map. Let's say big. Treat for it to bake. Yes. Right here we can see the ambient occlusion of our mesh. Let's go ahead and save this image C of S. Let's call this as a map. Save this image. That's it. So now we can get rid of this. 21. Baking The Curvature Map: Now let us create our curvature map. So the way we do it is by, is by adding first new image structure. Put an image texture and say New these 22048 and call this as curvature. We've got a curvature map changes to non-color data. Keep this aside now call this coverage here. For this to work, we need to shade us here. One is the bevel and one is the geometry. So let's call the geometry first. Let's call a bevel. Let's make math, which is a vector math, which is going to, which is going to create a dot-product of the geometry and the beveled shader. Let's connect the normal vector and the bevel normal to the vector. And seeing this as a dot product. Now, you can connect this directly. We can make sure that you're on the cycles and get inside render. This is what we get. Now for us to adjust. We can go ahead and increase the radius to 0.2. We are getting something here and let's add a color ramp that we can control some mode using these sliders. Right? Inverting them and it seemed to work. Just move this closer. You can see that we are able to pick up the details, Something like that. This has picked up most of the details of the corners and the edge. Let's make this value, the black value to gray. Something like this. We have got curvature map pretty that shows all our edges. We can maybe a little more increase the radius to 0.3. I liked this value of 0.4. 0.4 works. I'll keep 0.4. And this is my college and math. Now, this data can be baked into math just the way we did the ambient occlusion. I'm going to add an emission, this inside the emission and connect this to the surface. Let's go ahead and pick this. So I'll hit the maximum samples to fav. Get inside the big. Make sure that you have got the curvature map selected. If it should be in CPU and get to be big and set the big type to emit. Say big. Select this. So we have got the curvature map for an object. Let's save this and put it inside the maps and call this as curvature map. With this, we have all the basic mesh maps necessary to get inside and start texturing. In the next lesson, let's go ahead and make little low poly of this, and then let's start texturing that. 22. Assigning Materials: Since we have got all our mesh maps ready, we are victim all. And now let's go ahead and get inside texturing the shading workspace here, we have the shaded view. If you recall, this is the map which we created earlier when we were doing and dropping to check the squares and stretching and all that stuff. So I'll go ahead and remove that I no longer needed that. We have got a mesh here. I'll go ahead and put this Mandela's back to one. We are now left with low poly mesh. We'll go ahead and get started actually in here. First, let's split the materials for the shield in our material editor. What we have to do is we need to split some materials. First is the ion or the metal part here, and then we have the wooden part, and we have the clamps over here. And finally we have some handles over there. So we need to split materials for these individually, which we can do this, select the machine and let's get to the edit mode. To get inside my edit mode now, I can select individual parts on this shield because we have split them in UVs, even though we have join some other meshes to this still there UVs are nicely disconnected and separated, which means we can now also separately select them. Get inside your head, inside the edit mode. And best L, hovering over something. When I press L, when I hover, or any object here. You can see that object gets linked because here you can see that it is linked by seems. We do not want to select by seems. I wish to select by the ui's because the seams two or three in this case, because we have applied the bevel modifier. Modifier when applied what it does, it basically splits your edges, are beveled edges and applies that number of registrants. So once we just had one edge now, but now we are having 12345 inches, which is why I'll seems will not work in this case. So I'll just press L and use my ui's to select. What this is doing is open up the UV editor here you can take a better look. And if you see here that when I select this as well, you can see that that you will get separately selected. So this will be our wooden part in the front. Similar way I'll select the backside would also, when I press L here, this selects everything together because this is just as one island which is get over there. Great. Now let's give this a separate material. What we can do is, first of all, I'll rename my material, which is material zeros 01, metal. Nice. Then let's create one more material here by adding the plus icon. And I'll say New. And I'll call this as simply hit assigned here that assigns this particular material to the selected polygons. Over here, we have assigned would do three Islands according to the UN. So all these has got the the wood material applied to it. And then let's select the metal parts. I will select this. Select this declines. I'll go to my wireframe to make sure I've selected everything. Even on this. Yeah. I'll now just click the metal and hit assign. All these objects, get metal material as saying. Now let's go ahead and split one last material, which is T for an endpart. I'll go to the front view and I only select this particular portion because I wish to give this make this as a separate material. I'll go ahead and put one more material here, add a material slot and click New, and call this as front. Front a metal. And I had to go ahead and click Assign. Now we have assigned some materials here. Let's go inside material preview by pressing Z and clicking on material preview, you can see that everything looks white because we haven't given any properties, do any of the three materials. So let's go ahead and give some properties so that we can differentiate them from each other. So first I'm just going to select the metal part. And I will select the base color and put it too dark. And I put it to black. You can see only the metallic parts are getting in black. This handles. You can go ahead and give your own material if you prefer leather or something else. That also will loop will select only the handles. And let's make a new material, new and call this as handled and assign them here. So now they're separate material. Now let us select would give this as different color to see if this has come out right? Yeah, that has come out right. And we can select the front metal here and seeing this color something. Yeah. So now you can see that all the different parts have gotten a different color, which means using these properties, we can go ahead and start assigning textures to these materials. 23. Texturing Metal With Procedural Techniques : Okay, now let's go ahead and start giving a picture for that metal. Select the metal here. We have the properties for this year. It's just a principled shader as of now. First of all, we increase the metallic value to one since it is a metal. And then we will have to give some, some character to the metallic material. So when you just increase the color or you just put the color to white, it just has one metallic material and this is not that cool, So we need to give some character to it. We can do that by adding some procedural textures that are into Blender. Blender. If you do not know blender it comes or blender ships with a lot of residual textures. So first we'll go ahead and add a nice texture to give this method some characteristics to the color. Okay, so now let's add a noise and go and Shift E, search and call as call a noise texture. This is a nice texture right here. And the next node which we will call is a mixed RGB. So again, Shift a to add mix RGB. And really put a mixed RGB here. And then connect the factor and the factor, and then Control Shift and click the mix to connect this directly. This is the node triangular Anna. So when I connect this, you can see how the texture looks yet. No, we do not see anything because the two colors or C. So go ahead and change any one of the color to have some kind of organic looking pattern or organic texture in metal areas, you can see this wherever black comes and whether whites are because of the noise texture, this values are being driven by the nice texture. So whenever we change the values here, we get to change the texture that appears on the metal patterns. So for example, I'll change the scale. You can see how that affects here. And right off now, this is using the generated coordinates because noise map or noise texture did not know. He said 3D texture. So it's automatically getting Mac or its map based on mathematical representations are this is a completely procedural texture. So we'll go ahead and give it some UV coordinates to have a better look at mapping. We can take this year and then I add a texture coordinate connect the ui's inside the vector of mapping. You can see that this has slightly improved. And we can see the quality of the texture is much better than it was before. Let's increase the roughness or something like that. Let's see how that looks. We are connecting this and we'll connect the color inside the base color. Takes a little while to update. Yeah, we can see that now the metal has a little more character. It was before. You can go ahead and dramatize this effect by adding color. I'm adding a color ramp. What it does is it actually manipulates the values of your whites and blacks. It increases in contrast and it gives, sometimes it adds to the drama of her. Look. I'll add a color ramp here. I'll go ahead and search for color ramp. And let's put the color ramp between the nice texture and the mixed RGB. Now, just changing the values. You can see how this affects our picture. I'm just playing with the value still I feel it looks right. We can go ahead and increase the scale. Metal looks a little more grainy than it is right now. It looks better. Reduce the color just a little bit. You can try inverting this values too. If you want. Something like that. 24. Refining The Metal Texture: Okay, so now let us go ahead and add the curvature map which we have baked to this. What this does is it just going to add, or it's going to enhance the details on our corners and sharper edges here. So let's quickly call our curvature map, which we have baked and kept. So this is right here. I'll call this and put this inside here. This will be our curvature map. And I've seen this too, non-color data. I put this on top. Now I'm just going to add another mixed RGB here. I will search for mix RGB. Let's connect the color inside the fact. Alright, so we have connected the color inside the factor, and now let us connect this color inside one of the input. And let's see how this looks. Right off the bat. You can see we had adding some details and you can see that the edges are much more visible than it was before. This is the color that control only the edges. So whatever details here, this is the detail which we had put before. So whatever color you give here is going to be the edge color. You can put your own color for the edges. Right now I'm going to give some kind of white to the edge color. Now let us connect this inside the base color and see how that looks. Yes, you can see that it's a good result at the edges are looking much more vibrant than they are more visible. Then they went before. Connect this to show you the difference. So this is what we had before where the edges were not one-off. When we give the curvature map, we're getting some edges as it needs to be. All right, that's looking good. But what I've noticed is once I add the curvature map, we are having an overall brightened the mental than it was before. How do we control it? This is happening because of the curvature map being in a gray color. So you can see the curvature map here, how that looks. If you see that some parts are white and some of the parts that are green. If you have a blacker shade, then we can ask blender to mask that black off, keeping only the white areas. But since we have a grid, what this is doing is it's giving the color of white wherever they're complete whites. And it's giving the color of darker because there are Greece then which means we need a black and white or darker garbage HMM. But here we have grades here, so we need to make this darker so that we can eliminate this color spilling over other areas. So we only need this color to be on the edges and not on the other areas. So how do we do that is, if you see that if we increase the contrast for this map, we're going to have darker blacks, darker grades, and bright lights. And that's what we want to know. So we just put a contrast node in-between the curvature map under mixed RGB. So I'm just going to add a contrast, such for contrast. We have a brightness contrast node and this will get in here. I'll simply bump up the contrast. So let's see how that looks. This was 0. Before. You can see when I dial this value up, you can see that the darker colors begin to reappear. So anything above one is a little bit distorted. So I'll put the value to somewhere around five or something, where now you can see the darker mental as well as the curvature map. So I connect this to show you. Now, connect this. You can see the difference. Now there is not much difference, only the curvature map has been added to this grid. You can see here how you can make adjustments to your maps on the flow in blender, which is a really great feature. And tanks to bright contrast such nodes which enhance the image and manipulate some values of an image, we are able to control some maps, right from blender, which is good if I now connect this to see how that looks. You can see how we're getting some kind of a metallic look over there. Nice. Now let's go ahead and give it some roughness value. Now I want to keep this nice texture assets and give the similar details to the roughness channel as well. We can go ahead and directly connect this insider factor to our roughness. You can see that we have changed some roughness values. Now if you want to see that much more clearly, I would ask you to again add a color ramp. Let's search for a color ramp. Let's put it in between the noise texture and the roughness. And when you change the values here you can see the dramatic difference of what's happening. Yeah. You can adjust the ramp to have the exact values that you need. Now I'm going to put this back and I'm happy with the initial results which we got. If you want, don't want that much of a roughness, you can always change the white values a little darker. Now according to Blender, when you connect roughness map, anything that is white will be rough and anything that's black will be completely shiny. So with that in mind, we can go ahead and reduce the white values so that it becomes much more shiny. It, yeah, we can see some shine there. Too much. Increase that. Just a, alright, so now we will go ahead and add a normal map which we had big. So that will give the details which we gave for the mountain. I'll go ahead and call the normal map. This was baked from our multi-resolution modifier. Go and put this to non-color. I'll add a normal map. Connect the color inside color and normal to normal. Now we're getting those details which we sculpted back and up. Now I can see that this looks a little more shinier. So let's go ahead and reduce those. Put those white values backup here, that's off now I feel this is fine. Let us go ahead and start texturing the wood. 25. Texturing Wood Using PBR Maps: Select the word here. Inside of which you can see would underscore Thirty-five, zero thirty five. Now this is a map which I downloaded from ambient CG, which is CC 0 license map. So I would ask you to go ahead and support them because they're making really good maps. I'll go ahead and open would underscore 35 and I will connect this here. This is our base color. You can see that this looks on a different direction, so we need to rotate this 90 degrees. So let's go ahead and change the values of how this is mapping. I will connect texture coordinate, connect the UE to the vector. Let's add a mapping. Just enter 90. That's turned up so we can go ahead and change the scale to two. Um, we get smaller kind of green step. Leave that back to one. Let's go ahead and connect our normal map to get a better understanding. We even here, Let's go back and let's take our normal map. Put it here, this is the same normal switch be big. I would call a normal map. Connect the color. Put the normal inside. Nominal. Yes. Let's bring in a roughness to this. So what Zillow 35, I'll call the roughness. Put it here and I had connect the same vector inside this vector and put this roughness inside out. And often as you can see that our wood has a nice roughness map to it. It's looking good and we can go ahead and change some parameters. And right now this roughness is set to sRGB. Let's put this to non-color. That reduces some shine on outward. But we can always go ahead and put a color, change some values to bring back the shiny just a little bit late. So I go ahead and add a hue saturation value that I can see in some values of this image. So I'll reduce the value. I want a little darker. So I'll go with 0.8. Yeah, that makes a little darker. So it was like this before and now 0.8 makes it just a tad darker. So just to add to the effect, you can do one thing. It's like once we had added a temporary UV map, now you can go ahead and call that temporary UML. Change your scale, rotate your direction if you wanted. That's fine. It's up to you completely. And then you can switch off that tempo map. And you can always call a UV map here. Calling a UV map. From here, you can call them up whatever you need. If you're using a temporary map, then you can connect this to here. So that's how that works, but I do not want that right now and go ahead and delete. 26. Refining The Wood Texture: Now let's add some more color to our would like some kind of a pain detail. I'll go ahead and search for a mixed RGB and put the color one of the channel. It's connected here. You can see how that looks. Now. So let's add some more details to our crevices by using our ambient occlusion map. Let's call our ambient occlusion. From maps. We can see we have got ambient occlusion able map here. I'll go ahead and bring that inside. Can be sRGB if you're using directly or I'm going to use non-color. And let's call a mixed RGB. I will connect the color to our factor and hue saturation value to one of the colors. And let's see how that looks. Right off. You can see we're having white colors in the crevices because of the map. This is being driven by the map. Here. This map is basically acting as a mask to give us some colors to our mask. So I will connect this and change this white color to black. You can see how that's adding a little more detail. Connect this to base color. Let's see how that looks. Yeah, once we added those, you can see how that has given some details. Okay, So we have got the wood texture running and we have got some ambient occlusion. Now let us go ahead and give this some more detail. Let's push these principled away so we have some more space to work with. Let's again add a mixed RGB. After this, I will connect to that. So you can see that I'm just using mixed RGB and I'm using them like layers, and I'm just adding details on one top of the other. Making our texture getting a little more complex and having a little more detail by adding more layers. So let's add a mass grave texture here. Shift such wear mask, grip. Use the height into our factor. Immediately. You can see that we're getting some textures here, so I'll reduce the dimension 0 and increase the detail. You can see some details or not. This will be yellow, darker yellow color, something like that. It looks nice, but we can go ahead and change this by adding a ramp colorRamp in-between the height, in-between the values from the Musqueam and mixed RGB. I'm just going to change the values. Just bring the white down. So this will reduce the opacity of color on our wood. That seems nice for now. I think we have come to an end of our wood. Now let's go ahead and UT texture for our front panel. 27. Texturing The Center Panel: Selective friends, metal, seem, let's bring the normal map in. Fake. Connect a normal. Gonna do this in here, normal to normal. And put the value of metallic to one. Let's add mix RGB. Let's add a nice my password. Nice texture. Connect this to the factor. This to see how that looks. And I'll add a texture coordinate. The ui's inside the vector. Let's increase the scale. We're not seeing anything because both the colors are the same color. I'll go ahead and put one of the color to black. Increase the scale. You can see that there is some detail going on. Alright, let's connect this inside our base color to see how that looks. We are having some details on other bumped it. And now we can give a different color for the metal, which is in the middle. I'll change the color of this to little golden. Something like that. Little brighter. Let's sing the roughness of this. We can give the same noise map inside our roughness. Yeah, that looks good. I would like to tweak some of the metal. Finally, I'll select the middle and give this some tweak, which is this color. To make this a little darker, a little documented. Let's go ahead and make the material for the handle. 28. Texturing The Handles: For this, I'm just going to add mix RGB, disconnected in our base color and add a nice texture. Connect the factor here and change this to a kind of a letter, kind of a leather color. Make it dark like that and make it darker. Texture coordinate. The UEs and a ramp and change the values, increase the scale. Something like that. Switch the details up and give it some roughness, something like that. And since it's a back part, I'm not giving much details here, but if you wish, you can go ahead and make better details for this strap on the handle. So I'll play something like that and reduce the color a little bit. Connect the nice texture, roughness, and add a separate color ramp to this. Here you can see that this does not yet touched on model fully, which is the biggest reason for doing the modelling, baking, and texturing everything in one software. It is because you can directly go ahead and edit your model at any point of time. Instead of having multiple packages to your work. Select our strap here. Hold this as my last point. Period key and changes to active element. This is rotate this to make that touch. That looks fine. And I'll just adjust my color just a bit. Something like that. We have come to an end of our texturing session and resell how easy it is to add details using pre-existing PBR max. So as we did here, we just call the diffuse and roughness maps. And then we added our own details on top using procedural textures. Using procedural textures, you can do a lot more. If you are very much interested in learning more on procedural texturing, I would advise you to check out my course, which is organic procedural texturing in Blender. For that shows a lot more on procedural texturing. We have since we have done the textures. Now let us go ahead and light this up and see how that looks. 29. Creating A Render: Alright, so we have modeled it and we have textured it. And let's go ahead and light this thing up. So let's see how that looks for this. I'm going to go inside my layout. There we go. This is what we have got. Go inside material preview here to see how that looks. And I'm going to use EV to light this. I'll get inside render properties and change this to you, random or TEV. And I'll go to Render. And here you can see that nothing is visible because we do not have lights. I get inside the world properties and put the strength of the world to 0. And we have no lights on our scene. So I'll create a new collection and call this as lights. Let's add the first light to our scene. So Shift a and get inside light, color, point light. You can go to the properties of the point light by going inside the object data properties. And here I want to bring up the intensity of this light to about ten watts. Regard 10-watt there. And then I'll just move this away. Put it somewhere there, and let's increase the radius of this around 20 centimeters. You can see how that light is affecting our geometry. You can go ahead and seeing the color of the light. Put this a little warmer tone, somewhat orangeish, something like that. Let us go ahead and increase this power to 15. I'm just going to duplicate this slide and put it on that side. Let's change this color to some somewhere around blue. Cooler color. We add different kind of lights and different colors of lights is because we wanted to give some contrast in the light color. One is warmer and colder will give you a good contrast to shoot something like this. So I'll go ahead and duplicate this one more time and put this on the back. Somewhere like that. Which this up this backlight is giving us a nicer limb and it's lighting up the details here. Feel free to use some other color which we want. And you can go ahead and feel creative and change our experiment with color options here. Bluer shade. Let's reduce the size. Good ten, and let's increase the power to 30. Bring that closer. Something like that. Now let's change some settings in the EB. Let's get seen. And let's done on the screen space reflections and ambient occlusion. You can also check on the blue. What this does is it gives a bloom on your metallic areas, like what you see here can be adjusted by the threshold. Something like that. Let's increase the color of this late. Let's put this to match mode. Oranges, whew already issue. Let's add one in the front. Somewhere there. Change this color and reduce the radius. Change the color of this slight. Increase the saturation just a bit. This to 25. Let's put a transparent in our film. Let's add some lights on the backwards as well. I'll duplicate this and put it on the back. Bring that down. Just used set of point lights to have a quick lighting like this. You can use an HDR if you are using cycles. But I just wanted to add some point lights here to show you some lighting techniques here and you can see how the surface looks in this slide. And even though metal here, you can go ahead and experiment your own lane set up to arrive at better results here. I'll put one more here. We have an isolate on the limbs. The Scholar just increasing the intensity because it looks at it. And make sure that you have got your color management to filmic and very high contrast. Immediately you can see the contrast that this slides at reducing, reduce some kind of an intensity image. As you can see, lighting is a very iterative process and you have to work on your own to set your own moon and you need to experiment with light year. As of now, we can stop here and let's go ahead and take a render. I'll add a camera. Let's scale this camera up. Getting inside the camera by pressing control and 0 and my numpad. Using my view lock camera to view, I can go ahead and position my camera the way I want. And let's turn off the overlays. We don't see anything, but just start something like that. And just split my viewport into to where I have one as light LET view and one has my shaded view, and then go ahead and turn the viewport or less back on. Now, I just want to add some view here, so I'll add one more late. Just bump up the intensity. You can see how that's producing a highlight there. You can add rim lights like that so I can get inside. View, camera view. Add a room somewhere over here. Reduce the intensity. 30. Get inside camera view. You can see a nice rim going on in there. Keep the steroid. Just suggesting some positions of my later life. I'm happy with the way it looks. Reduce this to ten. I can see some details here. Yes, No. Let's just go ahead and take a quick render of this. Let's say render the image. You can see that how that has done them. You can go ahead and save this image to where you want. 30. Creating A Turntable Animation: Now let's create a quick table so that we can showcase this to someone. So I will create another camera. I shift a and C camera. I'm going to put this their scale that up. Getting inside this camera by pressing control and 0 exclusion that we face the front view. Like that. We have an empty already here. Now this is the empty which we used to bend our shield in our performance. Now we are going to use the same empty to parents who are cameras so that we can rotate around our object. I'll select my camera and then my MD and press Control P, an object that parents to our object. Now whenever I rotate this, the camera rotates around an object. So we can go ahead and make the turntable. Once you've got the empty, select the MD, make sure you're on the first keyframe and press N to show up our transform properties. Here. Select on item. Just press I on the z-axis. So this sets keyframe on the rotation. Then you can change this timeline to go to frame 250 and change the values on the Z. Wish to go this way? Yeah. This enter minus 60. Yeah. Now you can see how our object rotates. We have got our turntable. Now we can go ahead and render this as an animation by getting inside our output properties, I'll select the output. You can see where this output here. You can go ahead and change that exercise files. And here you can save this animation. You can render this out as a PNG sequence, or you can go ahead and render this as a video directly. So I have set as FFmpeg video. And under encoding I'm going to set this as MPEG-4. And we're going to set the video codec to medium quality. I'll put this as high-quality and encoding speed is good. And we can go ahead and say render, render animation. This will give us a quick turntable video. Alright, so we have got the turntable recorded and I've exported as an MP4. If he open, you can see how we have got our table. 31. Creating A Low Poly Model: Okay, so we have completed the texturing of our model. Now let's see a little bit on the high poly or locally version of our model. So I'll go ahead and get inside the layout and I'll go ahead and join areas. I no longer need that. Let's turn this back on and switch off our lights and get inside. Material premium. This is the multi-resolution meshes we have just added a normal maps and AO maps to give out low poly model, higher poly look, which is fine. You can go ahead and use this model as it is now to see the polygon, I would ask you to turn on the report overlays and under that you can see something I'll ask statistics. I'll turn that on and you can see an object here. Now I'll go to Edit Mode and select all to see how many phases I haven't got. So I've got 400704 phases as of now. If I switch off mandela solution now, depending on your requirement and this total poly count might change. This can be your it completely depends on your LOD level of detail. If you're going to have a close-up shot of this mesh or this shield itself, then you would actually going to bump up your resolution. You can turn this on and make this as one so far close-up shots and on. But if this asset is something that only appears from a far away distance, then you can go ahead and turn this off. Depending on your level of details. I'll go ahead and put our material preview. And here you can't really say that this is a low poly mesh from this distance. But when he says, zoom in and still it looks pretty much better. Still you can see some jaggedness, but it is okay. If you want, you can go home and turn on this Martinez. And you would also one other way or do you can do is go ahead and duplicate this mission put to the side. And let's go ahead and put this multi-resolution off. So we are back at the low poly mesh. And I'll add a subdivision surface and put this as one. We have got one subdivisions here and I go ahead and apply the subdivisions. Now we have got a significant amount of geometry, which is having 18 thousand faces, which is a lot and it's gonna be really used. So I'll go ahead and add decimate modifier to this. Put a decimate here and let's check the material preview now, you can see that we have got it in collapse, but these techniques work differently for each mesh and you need to really experiment to find which one works best for your model and what gives the best results. Right off now, let's keep this to collapse. And we can see an option called as triangulate and the ratio, I'm going to enter a number of 0.4. This has basically decimated my mesh, and this has got a count of 10 thousand. I can go ahead and put this even below 0.2. You can see some shading artifacts here, but do not worry. That's why we have the normal maps. When using the normal maps, all the shading artifacts generally go away. Here. This is a phase count of 7,500 phases. Now you can go ahead and apply this and this has got a really nice smooth occurs. But at 7 thousand phrases, you can go ahead and put this value even more to see how that looks. But generally having a drastic values might not give you good textures here you can see that the texture is getting this started and that generally affects your quality of the model. It all comes to the performance. What you can expect for this model, whether you are, whether you are showing it from a distance or whether you are showing it up-close and which application you are using it. Are you using this model in a smartphone which needs tremendously less a polygon? Are you doing this in a console, which means you can go and bump up the polygon a little bit more and how much detail it is or how important is this in addition to your story? So depending on that, you can always use the decimate modifier and go to the poly count, which you generally required. You can simply go ahead and take off the multi-resolution and use it as it is. Or you can go ahead and put the multi-layer solution to one and use the model as it does. So I hope this video clarifying some information on the polygon. 32. Conclusion: I hope you have enjoyed and learned something new from this class. Good class is about discussions and interactions. Go ahead and use the discussions panel to tell me what you thought about the class. And I request you to give me a feedback on your thoughts on this glass and do share what do you have created? I would love to go through them and give my feedbacks. Thank you for watching this class. Keep learning and cheese.