Blender and Substance Painter - Game Asset Creation: Fantasy Lights

1. Blender 3d Game Asset Intro: If you are three D artist, do love stylized game art and once a complete practical pipeline from blender to substance painter and back, you're in the right place. In this course, we build a gritty, fancy lantern from scratch, turn it into a clean, game ready asset with UVs, texture it with custom smart materials, and render a polished arc shop loop that feels ready for your portfolio or your next game scene. Part one, we start with blender by setting scale and simple references. Then we block out the key forms of the lantern and its base using clean readable topology. You'll see how to use loop cuts, bevels, and non destructive modifier stacks to move quickly while keeping your mesh tidy. When issues show up and they always do, we will fix geometry the right way, resolve shading artifacts, and reinforce structures so that edge highlights read beautifully once textured. Will add stone elements with displacement for that chiseled hand touch look, forge metal trims and plates and build chains with procedural tools so you do not model everything by hand. You will see how to keep details consistent with mirroring and instancing and how to prepare the model for baking. Then we will apply the modifiers, collapse the working stack to a clean, static mesh, unwrap UVs with good textile density, and pack efficiently so that substance painter behaves properly. Part two, Lou takes the reins in substance three D painter. He will walk you through what you will do there so you know exactly what is coming. You'll make maps and set up a clear, reusable folder structure, stone, wood, metal, glass, and decals. You will build custom smart materials from the built in library, so you can reuse them across projects. Expect stylized but grounded PBR, believable metals with edgeware and oil stains, wood that feels carved and handled and stone with soft breakup and curvature. For the lantern glow, you will build multi layer mission masks and control the light so it feels warm without blowing out texture detail. You'll finish with a few decals and motives to add story without clutter. Back in blender, we bring the textures home, wire the materials, and set up a simple professional render stage. The course comes with the blencraft add on, so you'll be able to use it to speed up the backdrop and pass set. This course is for artists who want production quality results without getting lost in the theory. I handle modeling and mesh prep, Luke handles texturing and lighting, and together, we guide you through a complete, modern pipeline from blender to painter and back. Ready to build something amazing and game ready, let us light the way. Join now, and let's build an amazing game asset together. 2. Setting Up References and Scale: Welcome, everyone to Blender and Substance Painter game Asset creation Fantasy Light. I'm Neil Founder of The D Tudor, and I'll be your guide through the first leg of this journey, and that will be the modeling section in Blender 4.5 0.1. It's important to use the latest version of blender that you can, but don't worry if you can only have something like blender 3.5, you should be able to follow along quite easily. It's just that the compositor that we will be using might not work in earlier versions. If you need to, you can reach out to us, and we do have older versions of the compositor. I think it goes all the way back two, 3.5 or maybe four something like that, and we can get that sent over to. Once we complete the model, I'll be handing you over to Luke, our Shader and texturing expert who will lead you through the UVM wrapping and texturing in substance painter. Now, if you're interested, Luke does also have another course out called the UV mapping Boot Camp specifically for blender. So if you really want to get to groups with UV mapping, then check that out. Course is made for creators who already know their way around blender, so it won't be covering the very basics like moving around the viewport, but it'll be approachable for new users and beginners as long as you know the very basics. We'll be using a default blender startup layout, so your interface should match mine pretty much exactly, making it easier to follow along. Now, we're also using something called Karnak, which will then be showing you things like our mouse clips or our keyboard clicks, which will make it even easier for you to follow along. Now, the first thing before doing anything, we do have a resource pack with this actual course. So if you can download that, it should be available on whichever website you've got it on. And what you'll see in there is we have a human reference. We have our three DT compositor. That's an amazing compositor, guys. You're going to see the real power of what that can do in this course. We also have our light reference, and we have our chain geometry node. So four different things there. It's quite a small resource pack, and this is mainly focused on creating, as I say, fantasy light game assets. The first thing we're going to do is we're just going to move this to the side, and then I'm going to delete my camera just for now just so it's not in the way, and I'm also going to come in and delete this little point light so I'm just pressing left and drag and then deleting that out of the way. Now, if we go up to the top of here, what we're going to do is we're going to go to File, and we're going to go down to Import, and we're going to bring in an OBJ. And I recommend doing this for all of your bills, guys. All of the bills definitely be doing this. Now I want to do is, I just want to go and find my resource pack, so it's on the Neils course under Light course resource pack, and here is our human reference. And once you double click that, you'll see we have a human reference OBJ. Those of you that have done many of the courses know that we already do this on every single course and just bring them in like so. Now, here's just here so that we can get an idea of scale. You never want to start to build without understanding scale. And the reason is because if you'll send it through to someone who's using May or if you're sending it through to someone who's even using substance painter, they're going to have issues with the scale. If you send it through real engine, for instance, you don't want a lamp coming in that's either the size of an ant or, you know, the size of a house or something like that. You really don't want to do that as a general rule in pipelines. So always bring human OBJ in. And then you'll never have any problems further down the line. Now, the moment you can see that I'm not able to move him around, I like to use my little gizmo, so you can either come over here and click on the Move Tool or press Shift and Space Bar and bring in your move tool like this. You'll also notice that his orientation is right in the center of the world. We want it in center of him. So let's press right click and set origin to geometry, and now we can actually move him over to the side. Alright, all that set up. Now I want to do is just save out our work. So once you've saved it out, the first time, obviously, you can save it out every other time quite easily. So let's first of all, go to File and Save As, Save As. And what we'll do is we'll save it in the let's save it in light and course reference. I'll just save it in here. So we'll call it a fantasy lamb. Course, like so, presenter, and let's actually change that because for some reason, I capsoc on. So fantasy A Light horse. There we go. And now when we go, we can just click and file and save every time just like that. Alright, the next thing I want to do before getting started then is actually come up to the top right hand side here. Let's click the down arrow, and you always want to put on cavity on. So click the cavity on. And the reason I do that is it just defines how much you can see. So there are a couple of things we're going to do as we build this out. The first thing is, we're going to be bringing in some basic lighting. The second thing is we're going to be bringing in cavity, so you can see we've put cavity on. And the third thing is that we'll also be bringing in an ambient occlusion, a basic material. We do do this in our other courses as well, and it's just to give you a real idea and sense of what something's going to look like when you're actually building it or when you've even finished building it. Alright, so let me just show you the difference then before you can see it yourself, if we click this off and you can see, look how more defined it is. If we bring in a cube, you'll see it absolutely makes a difference, and we'll do that shortly. Now the next thing I want to do then is I want to bring in our reference. So if I just open up, where is it reference, which is over here, let me bring this back over it. You can see we have this light reference. If I double click this, this is what we're actually going to be referencing it from. Now, in the beginning, as with any asset you're going to build, I highly recommend downloading something called Pure so I don't know if I open up PURO, just quickly open it so you can see what I'm talking about. Alright, this is PREV and this is where you can just drag and drop any image into here. So I really recommend that you grab a load of images or whatever it is that you're wanting to create, drop them into PREV. It is free. It's not paid or anything like that. It does say $15 charge or something on there. You can set it to zero and get it for free. It's one of the best things out there for actually using as a reference board. Let's quickly close that down now. Now, what you can do is you can actually have this fancy lamp on your other screen if you have one. And if you don't have one, you can actually also bring it into blender. So if I come in and I press one to go into front view, and then all I'm going to do is press Shift day. And what I want to do is come down to image, and I'm going to bring in a you can either bring in a reference or you can bring in a background for now, because I'm going to let Mine anyway, bring in a reference, and I'll just show you what that one looks like. So like reference. Let's bring and there we go. And now you can see wherever I move around here, I can actually bring that in. You can also bring the background, and I think that one there, if I move to the side, you won't be able to see it as clearly. So up to you, either bring your image in like this and then let's place it somewhere. You can also make it bigger if you want to. But for me, for now, I'm going to be using it on my other screen. There is another way of doing it, of course, and that's putting it over here, so you can actually bring this bring your image in here and use it that way. So we'll quickly do that. So we'll come down to the bottom left hand side, drag this up like so. And then what we'll do is we'll change that to image editor, I think it is. And then let's open our image, and we'll go to light, and there we go. And now we can zoom out and you can have it over here as well. If you don't want that, all you need to do just drop over to the right hand side just above it, click drag down, and then you can delete the the way. All right, everyone. So that is setup and on the next lesson, then what we'll be doing is we'll actually be sorting our fancy light. Alright, everyone. Thanks a lot. Bye bye. 3. Modeling a Textured Stone Base: Welcome back, if you want to game masseuration, fancy lights, and this is where we left off. Absolutely. Now again, because we didn't really do anything. But now we can actually begin. So what we're first of all going to do is I'm going to instead of being in layout, I'm going to go to modeling because I find it much, much easier to work in. It just gets rid, as you can see, of this animation timeline that we don't really need to actually build this. So let's actually go to modeling tab. And then what we're gonna do is we're just going to press Shift, and I'm probably going to bring in you can either do this one or two ways. We can bring in a cube or we can bring in an actual plane. I think for me, what I'll do is I'll bring in a plane. So I'll bring in the plane. We'll get it to be right about the right size, so I'm going to press S and scale it in just a little bit, and that looks a good size for the start of my actual lamp. Then what we're going to do now is we're going to come in. We're going to press the tab but to go into Edit mode. And then what I'm going to do is I'm going to press Control, so Control, left click. And then what I'm going to do is right click, drop it right in the center. Then I'm going to press Control B to bevel, but we're going to bevel it just so we can actually pull these out a little bit. So I'm going to keep them nice and even. So we're going to have 1 stone here, 1 stone here, and 1 stone. On the other side, I actually want two. So I'm going to press Control R. Left click, right click again, so it's in the center. Control B, pull it out, push your mouse wheel up one, and then you should get more stones on that side. Something like this, I think, is absolutely fine. Now, the other thing is because we've done it like that, we have actually got a center point, but maybe that center point is a little bit too big. In other words, is this a little bit too big? What we can do if it is too big is we can come in. We can press L, so I can press L. I grab it all, like so, and then I can press the eye bone, and I can bring it in this way instead. So now you can see that we've still got our stones there, but we've made them a lot lot thinner around these edges like so. And I think this is looking much much better. Now we've done that, let's press the lead, so all I'm going to do is just press the lead and delete faces, and then we've got our center point in here, perfectly ready to create those stones. Now I've done that. What I'm going to do is I'm going to split these up. So I'm going to come in. I'm going to grab every middle one. So I want one there, one there, one there, as you can see. Grab both of these, both of these, both of these. And now what you can see is if I do that, I can actually split them up, so every single stone is split. What we're going to do then is press the button like so, and then I'm going to press A. And then what we're going to do is extrude up. So if I now press E, I should be able to extrude this up a little bit, creating those stones that we actually want. So we end up with something like this. Now, at the moment, you can see those stones don't look anything like stones. It just looks like a full block. But in a minute, you'll see the magic happen when we start using our modifiers. So let's first of all, press Control, transforms, right clicks at origins geometry. Very important before using any modifier that you reset all of you transforms. I'm also going to shade smooth. So right click and shade Auto smooth. Now you'll notice when we do that in the new versions of Blender, it does come up with a modifier already on there. So that now is our first basically modifier done automatically for us. Next of all, then, let's bring in another modifier. So the next one we're going to bring in is going to be or multi resolution. So let's add in a modifier, come to generate, and it should be under. Love it down here. Let me just find it. Multi resolution, here it is. Now, I find this is easier to use than subdivision, basically because I can delete the subdivisions whenever I want, bring them up. I just find it easier to use. It's especially easier to use when you're sculpting. So if you're sculpting or using blender a lot, probably use multi resolution rather than just a subdivision modifier. Now, what I want to do is if I come in and just here to subdivide, you will see this happens. We don't really want that. But as I said, we can actually turn this down one and delete higher, and then we can just start again. So instead of that, we'll do simple, simple, two, and we'll turn it up to two. So two of those, and you'll see nothing really happens. And the reason is is because it's just divided it but without changing these sides. So it's not tried to round it off or anything like that. Alright, so the next one we're going to bring in then is going to be our bevel. So we're going to bring in a bevel modifier. So let's go to add modifier, generate and a bevel, and you'll see that drops underneath, and now you'll see exactly what I was talking about. So now with the bevel, we've got this at the moment on the amount, so we can turn this down or up. We can also come down if you want to make it more beveled, come down and turn off clamp overlap. And you'll notice we end up something like this. Now, if I turn this down, you can see that because we've got that clamp overlap on off, sorry. We can actually stretch these even further with the bevel. Now, typically, you don't really want to do this because you'll end up with a lot of problems with UVs. But if you ever come to a model where the actual bevel isn't working, it's generally down to the clam overlap, you know, being ticked on, and it's just preventing issues with the mesh. So I'm going to turn this back on, put that back to there. And then what I'm also going to do is I'm going to turn the amount of the bevel down to note point, not five. Like, so and then what I'm going to do now is we're going to bring in another actual modifier, and this one is going to be our displacement. So if I come back up, add modifier. Oh, sorry, before I do that, you can actually close these up, so they're not all in the way like so. So what I'm going to do now is bring in another modifier, and we're going to bring in a displacement. Now, displacement is under deform, because it's basically deforming the mesh, so let's go down to displace, and we will end up with something like this. Now, what you need to do, first of all, when you bring in displacements is come in and first of all, turn the strength down to something like, let's have what strength? Should we have this on naught point, not not five? And then we'll also set the mid level down to zero, like so and then what we need to do is we need to click No. And then what we're going to do is we're going to go over to our texture now because this is based on the texture. You can see it's based on the texture, and then whatever the texture looks like is what it's going to deform on the actual bricks. And this is the reason why we wanted to bring in a multi resolution because we need a little bit more topology to actually work with to give us all of this stong like displacement that we're going to be using. Alright, so let's go over to the texture. And what I'm going to do then is I'm going to set this texture to Musgrave. So I'm going to come down, set it to Musgrave. It's up to you whether you want to name your texture, so you could name it stone blocks. Like so. And then what we're going to do now, you can already see that we've got some wobble on there. What we want to do then is turn this down. So you can see, if I turn this down or turn it up, you can see we've got a lot more wobble there. Let's put this on Note nine, not point not nine, like so. And the other thing is, I recommend playing around with these, also playing around with the different actual images if you want to. But I found this one gives me pretty much what I want, making it really, really easy to have that stone effect. Now, the other thing is, if you are playing around with it, so, for instance, if I turn this down or I turn it up, for instance, when I come and press Control's Ed, you will see even though I've pressed it, it actually doesn't really go back. So just click it, press the nibne and then that will put it back to exactly what you want. Alright, so pretty much now, if we go back to our modifier, we've got on our smooth. So if we come here, we've got a multi resolution, a bevel, a displacement, and a smooth. And this is called modifier stacking, and this basically allows us to make, you know, stone look a little bit more like stone with very, very little work. And you'll see, as we carry on now through the course, you'll also see we'll be using this by copying it onto our other stone, and you'll see it's really, really easy to build things up fast without any sculpting or anything like that. The other thing is now at this point, I can actually show you if we come down and put cavity on, you can see exactly the difference now that makes. So if you turn this off and on, that's the difference it's going to make, guys, and now you can see really, really what you're actually looking at. So, guys, after every lesson, just make sure you come up and you save out your work, and on the next lesson, then we'll carry on building this up. I'll see you on the next one, everyone. Thanks a lot. Bye bye. 4. Building Upper Lamp Layers with Clean Topology and Modifiers: Welcome back, everyone to Game Asset creation, fancy lamps, and this is where we left you off. Alright, so what I want to do now is I want to basically come in and create this second pot. So we're going to do this in stages. So first of all, let's bring in a plane, so mesh plane. Let's make it a little bit smaller, and let's bring you up just to sit on top of that. Now, the moment, you'll see I've not got my gizmo, so I'm just going to bring it in. I'm gonna pull it up just to the top of this, like, so I'm going to make it a little bit smaller then. Like, so maybe to something around here. And then what I'm going to do then I'm going to press tab, I'm going to press E, and I'm just going to pull it up. And all I want to do at this stage is just create the actual shape. So I'm not too concerned about whether it's a block, whether it's bricks or anything like that. I'm just going to be creating the shape. Next of all, then I'm going to press the I for insert and bring that in, like so. Then I'm going to press in E again to extrude it up, like so. Now there is a little tip, as well. But when you're extruding, if you're anything like me, sometimes I'll press the E, and then I won't realize I've actually extruded it. So you can see here at the moment, we have actually got an extrusion here. If I press shift spacebar, bring my move tool in, you can see it's there. It's just hidden away. And sometimes you might press E a few times and not realize. So now, if I bring that because I press D again, I've actually got double over here, and I don't really want that. So what I want to do instead of having that is if I come in and press A, I can come up to mesh and then clean and then what I can do is so mesh, clean up, and then merge by distance, four vertical is removed. Now, you'll see that now, if I grab this, press the G button. You can see now there's no extrusion there. So really, really good tip if you're having problems with your extrusion. Now, the other thing is, I don't really want this double now. So I'm just showing you this so you know if it happens to you, you can actually fix it. Let's grab the top of here. Press Control plus, and then we're going to press delete and faces, just delete that out of the way. So now what I'm going to do is I'm going to come in, grab my edges. So let's press Alt shifting click just to grab all the edges going around there and press the F but just to fill that in. Now I want these to be blocks, bow on this top bit. Well, these to be stone and then this top bit to be a block. So these stones block and stone. So let's do the next bit. So what I'm gonna do is I'm just going to press the Ibn and bring it in. Then I'm going to press E. Like so then I'm going to press I. And finally, I'm going to press E and make those a little bit bigger. So you should end up with something like here, and you can see exactly which parts are actually going to be the stone blocks and which ones are going to be the actual bricks. So the thicker ones are always going to be the bricks, and you can see this is our base and how big it's going to actually be. Alright, so let's now come in. And what we'll do is we'll split these up. So what I'm going to do is I'm just going to press Control plus again and I'm going to press the y button, and then I'm going to hide that out of the way. Then I'm going to press Alt Shift and click with Face select on. You can press one, two, and three, by the way, on your keyboard, and then you can quickly select these. So Alt Shift and click, press Control plus, and then we're going to press Y, hide it out of the way. Then we're going to do is we're going to come to this part, Alt Shift and click again, and we're going to press Control plus, and then we're going to press Y and hide it out of the way. Now, we should be left with just this part here. If I come in, you can see it's got a face on here, but no face on this top bit. Now, let's fix all that. So all I'm going to do is press Altage. I'm going to press A to grab everything. And then what we're gonna do is we're going to go to mesh. We're gonna go to clean up, and this time, we're going to go to fill holes. And you'll notice at the moment, if I come over and open up this little sub menu, I should be able to turn this up. Now, if I come in now, you will see if I grab this part, hide it out way, you can see it's filled in that face for us. If I come in and hide this one, you can see it's filled this one. So basically, it's gone in and filled all of the faces in. Now, if I press Altage, bring back everything. If it doesn't fill in faces. So in other words, if it is more than four sides, so it might be six sides or something like that, just come in and go to cleanup fill holes and just turn this up. So once you turn this up to eight, nine, ten, it should fill in most of the holes. The next thing you want to do if you're using this, by the way, and it is more than four sides, right click, make sure that you're on Facelg. Come down to triangulate faces, and then right click again, and you're going to come down to triangles to quad. So it's right click, triangles to quad. And that then I'll give you really, really nice clean measures. Now the next thing I want to really do is a lot of these blocks, as you can see, they've got angle going in there, and I don't really want that. So what I'm going to do is, I'm just going to press Delete, and I'm going to come down and limit to dissolve all of those. Now, let's just see if it's clean them up, so I'm going to grab this one. You can see that this one's a nice block now. You can see this one's a nice block, and you can see this one is also a very nice block. Alright, so we're partway there on that part. Now, what we want to do now is want to come and create blocks from this one. So if I press Control A, I should be able to. So if I come in, press Control, like so, I should be able to come in and press left click, right, click, and the same again on here. So Control, left click, right, click. So that's the stone blocks to this one. And now we just need stone blocks on this one. So I'm just going to press Control A, left click, right, click. Alright. Now, the easiest way to break these up is honestly to come in and right click and mark a sem as you're doing this. So just mark asm and do the same then on this. So I'm going to press Oh ****, click. Oh, ****, click, right, click, Mark asm. Now I can do is I can come in and split these up. So I'm going to press L, and then we're going to press Y and then split this one off from this one. Now I'm going to do the same thing on this bomb. It's important that you break them up in parts here because if I just split this one off, you'll still end up probably with these. So let's say we went like this. If I press Y here, we'll still end up with these joined, and we don't want that. So what you're better off doing is just coming in, pressing Y, press L, Y, press L, Y, and finally L and Y, just to make sure they're all split off. Now, are they all split off or not? Well, the easiest way to tell is first of all, press Control A, or transforms, right click Set origin to geometry. And then what we're going to do is grab these so you're going to make sure this one's selected. You're going to come down and select this one. And then what you're going to do is you're going to press Control L, and we're going to copy modifiers. And it looks like a bit of a mess. Now, let's see if we can actually fix that. So first of all, open up your multi resolution on this one, so make sure this one's clicked. Open your ho. Then what you want to do is you want to drop this down like so, delete higher. And then what you want to do is click on simple a couple of times. Then what you want to do is you can see we've got smoothing on here. Now, the smoothing, honestly, if I right click now and click Shade Auto Smooth, sometimes it adds on another smooth and sometimes it just uses this one we've already got, so just be careful about that. Now, the final thing at the moment is, these are split. So if I come in and just grab this one, you will see the split. The problem is that this middle face on these parts is not filled in, and we need to fill that in. So what we're going to do is, first of all, we're going to press tab. We're going to come over to, um Sorry, we're going to press A. We're going to come over to mesh in edit mode, and then we're going to come down two, whereas it clean up, and we're going to fill holes. So you can see now these holes are filled. These ones are not. So you can see here these ones are filled. These ones are not at the moment. And we're going to actually fix this. I think you know what? I think it would be better if first of all, we just fill these holes in, and then we just reput all of these modifiers on. So we'll come now to this one, and what we're going to do is we'll go to mesh again, clean up. Fill holes, turn it up, and there we go. Now we can see all of those are fixed. Now, let's quickly see if we press Control A, all transforms right click Set origins geometry. Let's turn this down then and see what happens and then we'll delete higher. And then what we'll do is click simple twice and there we go. Now you can see just how easy it was to actually fix those. Now, at this point, you might want to turn up the bevel on these. I'm just wondering if I need to turn up the bevel on these or if I can get away. So I'm just going to look at my bevel. Let's have a look. There we go. Let's put it one point, note, note five. Yeah, and I think that's looking absolutely fine as is. I'm just wondering if I press Control A set origin geometry, I'm just going to retry put these on. So let me just take these off a minute. So if I come in, take all of these off, right click, shade or tos move, grab this one last, press Control L, copy modifiers, and then come over, click on this one, open up the multis, turn it down, and then delete higher and then simple twice, like so. Alright, that's exactly what I'm looking for. Something like this. And I'm just making sure everything's in place, how I actually want it. And I am seeing there's a little bit of an issue with the inside of these, so you can see on the inside, you can see how this has beveled off. On the inside, we haven't really got that bevel, and we need to make sure this is right because if not, this will cause issues for Luke further down the line. So it's important to recognize these things and also, more importantly, how to fix them. So on the next one, we'll get these fixed, and I'll show you exactly what went wrong, how we can fix it. And I hope you enjoyed this one, everyone. Thanks a lot. Bye bye. 5. Fixing Geometry Issues and Adding Structural Stone Layers: Welcome back, everyone to Game Ase creation, fancy Lights and this is where we left it off. So I think what happened was when we came in and used the cleanup and we used the fill holes, I think for some reason, it actually messed it up. So what I'm going to do is I'm just gonna press Control plus. You know, where I'm going to grab this one, grab this one. Press Control plus, and I'm going to hide those out of the way. And then what I'm going to do is I'm just going to come in and delete this face. So delete and face and then delete this face like so, and then press AltaH. And I'm hoping now that if I come in, press Alt Shift click, and hide this out way. Let's actually fill in this face now. So I grab this one and this one, press the F button. Let's press Altag. And there we go. Now you can see that is actually fixed. Now, if I come in and do the same to this one, so if I come in, press Alt Shift click Control plus, hide it other way. And then let's come in, grab this top face, this bon face, press F, hide it and then AltH, bring everything back. Double tap the A. Now you can see that we have got that devil in there. Now you can also see it's a mess andmum, but we know why that is. Now what we want to do is we want to come down to Bamont because we've got the same issue there. So what I'm going to do is, I'm wondering what's the easiest way to actually do this. Probably to hide. Let's have a look, so we need to fix probably both of these. So let's do them one at a time. So what I'm going to do is just hide this and you can see, haha. Here is one of the big problems. Let's press Delete on this one. So delete and faces. And for some reason, I think probably if I press oltage, just do bring that back. Then let's come in. I know there's a lot of messing around guys, but it might just be the case where we actually grab this and then we'll come in and mesh. In fact, you know, we'll do, we'll go right click. So right click, triangulate faces, right click and tries to quads. And let's see now if that's going to fix anything. First of all, let's press Control O transforms, set origin geometry. Then let's come in and turn this down like so, and I don't think at the moment that's going to fix it. This one is perfectly now, as you can see. Let's just delete hire for now. And then what I'll do is I'll come in now. And fix these myself. So I'm just going to press H, and we can see now we've got all of these issues. So what I'm going to do is I'm just going to come in, delete all of these, so delete faces, delete these faces, so delete faces. And then what I'm going to do is press Altage, let's have a look again. And a mi even for this part. Or now, come in and lit out with question mark. I'm wondering if I can do that as well. So Shift there we go. Let's is lit them out like that. All right, let's press L hide that out of the way. Let's see if we can do it on this one. And I don't think now at the moment I've got any faces in there. So now I can do is I can fill these in myself. So if I come in, press the Fbne, come in, press the FBne and let's press AltH. And that one was that one around there, as you can see, and I think now, yes, this one is working properly now. All right. Same for these then, so grab them, Shift Let's come in, top and bom, press the FBne press the bone, lt H and then come back round to this side, same thing again. So shift And I'm actually glad this happened because if not, you might have made this mistake and not known how to fix it. So now I think we've just got this one here. So, shift and there we go. And press the F p. Now press voltage. Bring back everything. And now we should be able to grab this press control AO transform SauragenGeometry. And now let's press simple couple of times like so. And now we should have fixed those issues. Okay. Now, they look a lot lot better. We've not got any problems. With the edges like we did before. And I'm also wondering if I need to change anything else. You know what? I think I'm going to leave that. I think that will be fine now. And now we can do is we can work on the next bit. So what I'm gonna do now then, I'll bring in another plane. And then what we'll do is we'll build out this stone bit in the middle. So if you look on your reference, so let me just open up my reference again. So here is our reference. So we're building now this bit here, and then we'll carry on and build up this part here and, you know, get to the top, and then we'll start building some other things out. Alright, so let's put that away. And then what we'll do is again, we'll bring in a plane. So shift date, let's bring in a plane. Let's bring it up, s to the top up there. Then let's press the S bone, bring it in to something like there. And then what we're going to do is maybe a little bit touch more, touch more. Then what we're going to do is press tab to go into Ei mode. We're going to press E. And then what I'm going to do is I'm going to press E again. That up. And then I'm going to press the I button to bring it in, and then I'm going to press E to bring it up and then finally press the S bone to bring it in for that stone structure on top of that. Now, this bit here we want sticking out a little bit. So what I'm going to do is just press Alt Shift click just to go around this bit, and then I'm going to press E enter altern and then you should be able to bring that out. Now you can see it's been brought out like that. Now, if it's not even if it's bend and things like that, just set the offset to even. I will pull it out a bit more, but I find that it just makes it really, really straight for you. So don't forget to press that. Now, finally, we want to come into each of these now and what I want to do is press the Ib. But the thing is when you press the Ibn the first time, I'll just come in like this, press it again, and then you're able to bring it in to the way that you want it, doing them individually like so. Then what I'm going to do is I'm going to press E. I'm just going to press the enter button then, and I'm going to press AlnS and then I should be able to holding the Shift boon down, you can see I'm holding the shift to slow that down, I should be able to bring it down like so. And maybe, maybe that's a little bit too far. If you've gone a little bit too far, you've pressed Controls or simply press Alts again and bring it out a little bit like so. Okay, so now before we carry on with this actual stone, what we want to do is we want to bring in the top pot. So all I'm gonna do then is, I'll probably bring this part here. So Alt Shift and click Shift D. Let's bring it up to the top, and we're going to put that on top of there. Make it a little bit bigger. So S and z, like so, mesh, clean up, and then fill holes, like so, and we should then be able to put that on top of there. Now, rather than making it smaller, so if I put it on top of there, for instance, and then I press the S, you can see it messes with the actual z as well. So it's making it thinner. Instead of doing that, just press Alt Shift, click. And then, again, you're going to press Alt and S and that's just an easier way of dealing with shapes like this. Alright, so that's looking really, really nice. Now again, Control A, I transform, set origins, geometry. And then what I'll do is grab this one. And what I'll do is I'll grab this. I'll press Control L and copy modifiers. Again, regrab it, right, click, shade Auto smooth. Come over to your multi res, turn it down, delete hire and then simple twice, and there you go, you'll end up with something like this with very, very little work, as you can see. Alright, so that's looking good so far. Now the next thing then we want to do is the stone going up. So this on my reference, let me just grab my reference again. So the next part we're going to work on is this part going from here all the way to the top before getting to this kind of castle type thing on the top of it. So we'll do that on the next lesson. Again, now we've finished that. Let's go to file and save everything, and I'll see on the next one, everyone. Thanks a lot. Bye bye. 6. Model Brick Structures and Spires with Modifier Stacks: Welcome back, everyone, to Game Asecration fancy lights, and this is where we left it off. Alright, so if we grab our guy, and what we'll do is we'll just pull him up, so he stood on top of there. And then what I want to do is I want to make this part here up to round about his shoulders. So First of all, make sure you curse us right in the center. So shift the S and curse to world origin. Shift A, and let's start this time with an actual cube. So I'm going to bring in a cube, press the S bone, scale it in, and let's drop it right on top of there. So the S bone again, leaving a bed of an edge, like so, so you can see we've got a little bit of an edge there. And then what we're going to do is press tab, come into face let, grab the top of it, and then all I'm going to do is just pull it up to his shoulders like so. Alright. That's looking really nice. Now, let's put our guide back where we started. So let's just bring him down. Press one and just drop him down to the ground plane, which is this line here, like so. And now let's come back to this. Alright, so let's think about our bricks. So what I'm going to do is, first of all, go to press the tab on, I'm gonna press Control R. And then what I'm going to do is bring out an even number of bricks. So maybe something if I left click and right click, you can see here, we've got eight cuts. If you haven't got this little sub menu, just to open it up. And I think, as well, we want them going the other way as well. So what I want to do is I want to press Control R. Left click, right click. So then we've got going that way. We need them also going the other way, as well. So Control, left click, right, click. Alright, so now I'm thinking of the easiest way to, you know, kind of create these bricks. So we've got some going one way, some going the other way. And I think probably the easiest way, I'm just wondering you know what? I think before I do that, I'm going to press Control Z and split them up. So we should have something like this. And what I'll do is I'll right click and Mark a seam and we'll do it that way. I think this is going to be the easiest way. And then what we can do is now we can split them up. So if I press L and just go down like this, I should be able to come all the way down to the bottom and then just press P selection, and now they split up. So now I can come in and actually hide one lot out of the way. So if I press H now, I should be able to come into this one. Now, what I want to do is I want to fill these holes in first. I want to press tab A, grab them all. Mesh, clean up, and then we're going to fill holes like so. Then what we're going to do then is press Control, left click, right, click, control, left click, right, click. Keep going all the way down like so. If I press Shift click now on each of those, it should be easy as well to split them up. But before we do that, we've got to remember that we've already got a seam marked seam going all the way around the top, as you can see, so there's one going around the top and the bottom. So the easiest way, actually, is probably right click and clear the seams. So clear all the seams and then come in and mark a seam going all the way down. So right click and mark a seam. Now, let's press Tab ltH and then let's bring the other one in. So I think let's have a look. I think these ones here. So again, shift H, hide everything else out the way. Press the tab bone, press A. And then what we're going to do is we're going to go to mesh, and we're going to go to clean up and fill holes, and that's that bit. Now, the one thing I did forget on these is, if I press Altag and come to both of these, if I press tab, I can see that these are going this way round. So it's this top one, the one that we need, and it needs to go the other way. So it needs to go this way here. So all I'm going to do is grab these press Shift H, and then come in, press Control A, and that is the way that I want it. So Control A, left click, right, click Control, left click, right, click. And the same Jas working the way down. So control, left click, right, click. Now, the other thing is, again, let's press A, press Control. You can also do it that way. Click SIMs and then Oh, shift, click Alt Shift, click, Oh, shift, click, going all the way along these right click and Mark Sam. Now, finally, finally, let's press Altage and bring back everything. So Altage, bring back everything. And let's do these actually one at a time. So we'll grab these top ones first. And what I want to do is if I press tab now, I should be able to come in. And grab each one of these, like so, and then press Y. And then what we can do is press A and then mesh, clean up, and fill horse. Now, I'm hoping they've been filled. Let's do the same on the next one. So I'm just going to hide these out of the way. Come to this one then, I'm going to press tab. And then what I'm going to do is press L, L, L and L Y to split them off, A, and then mesh, clean up, fill horse. Okay, let's see how this is going to work. We've also got a block here. I'm not sure where this block came from. This one here. Don't know where it came from. Let's have a look. Yeah, let's delete it out of the way. Let's press Altage. And there we go. All right. Now, let's grab them both. Press Control J, press Control A or transforms. Set origin geometry. Grab this boom block here, press Control L, and then we will induce copy modifiers, grab these, right click, shade or too smooth, come over to your multi Rs, turn it down, delete tire, simple, turn it up twice. And now you can see just how fast it is once you've actually got things in place. So once you've got your modifiers in place, you can see just how quickly and easily it is. Now, the other thing about this is that when we pass this over to Luke, he will be converting all of these modifiers to actual mesh. But the thing is, you'll be able to make sure it's done cleanly because we've left all the modifiers on. So you can see this is a non destructive workflow. Anytime we want, we can come in and delete the modifiers, add more modifiers without actually changing the mesh or its integrity. That's the main thing about modifiers, stack in and adding modifiers. That's why we do that so that we can come in and quickly change things if needed. Alright, so now we're on to the actual next bit, which is the part that goes up here. So again, let's go back to our reference. Let's have a look so we can see here this part here, and then we've got one part that goes up here, one part that goes up here, and then we've got these four little tops on top of that. So now we've got that. Let's actually start work on that part, so I'm just going to put that down. Again, I'll press Shift A. So shift let's bring in a cube again. Let's bring it up, and we'll make it much, much smaller. And we just want it to be over this amount, so a little bit over, like so. Let's bring it up so it's on top of there. And then once we've done that, let's come to the top of it, make sure we're on face leg, pull it down to where we actually want it. So be something round about there. And then what we'll do is we'll press E, enter S to pull it out. And then E to pull it up. So we're going to make it a little bit chunkier on here because we're going to have something supporting under here. And then we're going to press E again, no S, pull it out, like so, and then E, and pull it up for that top part. Now I want the top part to be a little bit more chunky than this bot part. So yeah, something like something like this looks perfect. Now, we don't want these to be stone blocks like these parts, so I can quickly just do all transforms rightly. Surrogenes geometry, grab this one and this one, press Control L, and what we're going to do is copy modifies. And again, make sure you've clicked on it, shade Auto smooth, Autoysturn it down, delete higher, turn up simple twice, and there we go, that's that part done. And now you can see just how easily it is we're able to actually do this. Now, the next part, we want these four spires on top. So these parts here like a castle. So let's put that down. And what we're going to do to do that is well, first of all, grab the top of this. So I'm just going to grab the top of this, press Shift desk, curse the selected, press the Tabb, Shift D, we'll bring in a cube. And also, every time we bring in a cube at the moment, it's always 2 meters. Let's turn it down, so we've got something actually smaller to wear with. So let's say something like this. And now you'll notice that whenever I press shift bring in a cube, it will come in at that size, which makes it a little bit easier to work with. This works until you actually reload blender. So as long as you've got this open, you know, you've got this file open, you're working along, you can actually use that. So let's go to file and save. Now what we'll do is we'll press the SP we'll press seven to go over top of you. And what I'm going to do is I'm going to pull it into place. Now, at the moment, it's a bit hard to see, you know, how big are these parts? I'm going to show you how to fix that in a minute. So let's first of all, they bring it up into place, grab the top part, pull it down, like so. And then what I'm going to do now is I'm going to controle all transforms, right click origin to geometry, and then we'll set origin to three D cursor. And then what we're going to do is add in a modifier, generate, and we're going to bring in a mirror. We've got one there. Let's press the Y one. We've got one there now. Now, we can see that these are way way too close together, so we'll come back to this Al shift and click, alter ness to bring it down. And what we're also going to do as well, we're going to press seven, 12 over the top, and we're just going to bring them a little bit closer to where we actually want them. So something like this. And then what I'm going to do is I'm going to press the I button to bring them in, like so, and then I'm going to press E. To bring it up a little bit. And then instead of, you know, just bringing this pp, let's make it easy for ourselves. We'll just press Shift D, and then we'll duplicate it, and then we'll press E to bring it up a little bit further than the other one, like so. Now, let's first of all, apply our mirror. So Control A because we're not going to need that actually on there. So let's press Control A, apply that, and then press Control A, all transform set origin geometry. And finally, now let's grab this part and this part, press Control L, and copy modifiers. Grab this one, same as we always do. Shade or to smooth, turn this down, delete higher, and then simply turn that up. And there we go, guys, as simple as that, and we've got those parts on. Now, we might want these a little bit chunkier. I think they're a little bit smaller at the moment. So what we'll do is we'll just grab the top of them. In fact, we won't do it that way. What we'll do is we'll grab these parts here first. I think we'll press SE and pull these out a little bit. You can see I've not grabbed them all. So let's try that again. So Control plus S and Z pull them out a little bit, and just make them a little bit higher on there. You can see again what normally happens is we have to reset all the origins, origins, geometry, turn this down, and finally delete hire, and then simply turn it up like so, and there we go. Now we've got those on. They're still touching a little bit. I think I'll bring them up a little bit more, so I'll look at that. And there we go. I think that looks a lot better, like so. Alright, so on the next lesson, then we'll work on these parts here. And then finally, I think, we'll actually maybe work on this sign. So something a little bit different to work on, we'll work on getting this sign in place. And then once we've done that, we can actually work on the actual light. So you can see, once you know what you're doing, it's really, really easy to, you know, create these assets quickly and easily. You can easily create one of these assets that's from beginning to end. So the four modeling process, including texturing, Uvu wrapping and lighting and perhaps a day once you get the hang of it. And from there, obviously, you can see just how quickly you can create these assets, build them up, put them in your own games and all that good stuff. Alright, if you want, so I hope you enjoyed that. I'm going to save up my work, and I'll see you on the next one. Thanks a lot. Bye bye. 7. Create a Forged Metal Sign with Bevel and Displacement: Welcome back, everyone to game Master creation, fancy lights, and this is where we left you off. Alright, so now let's bring in these parts here. So what I'm going to do is I'm going to press a shift A, I'm going to bring in a cube. I'm going to make my cube a little bit smaller. And then what I'm going to do is just pull it out into place. So I'm going to put it under here, like so. I'm going to press S then and the Y, just to bring it in on the Y axis, and I want it come in. So it's just under there. We don't really want to have any wastage on here. So this is, you know, a lot of UV space will be wasted if we pull it all the way through. So let's pull it up to there. What I mean by if this is all the way back in here, no one's seeing that texture, and yet all of this part would still be textured, which means all of that texture space is wasted. And that's what I'm talking about. If we grab the bomb then, what I'm going to do is just bring it up to here. I'm going to press E, and then what I'm going to do bring it down to there and then press S and X and bring it in, like so. And then finally, what I could also do is bring this out a little bit like so, grab them both, and then just pull them both back at the same time. And we should end up with something like this. Now what I'm going to do is make it a little bit thinner. So S and X, bring it in just a little bit, like so. Alright, I'm happy with that. Let's press Control A all transforms right, click Set Origins three D cursor. Add in and modify and we're going to generate a mirror. And don't worry. We're going to actually get rid of one of these when we come to put in, you know, the big piece of wood there. Let's press the Y. And sometimes with the X, it doesn't always work. So what I'm going to do is I'm going to come in to mirror object, and let's mirror this object. Yeah, and that's Nyx working eva. So let's take that off, take the X off. And what we'll do is we'll simply apply this, so control A. And instead of using the mirror, what we'll do is shift D. Press the enter button, Z 90, and that'll mirror it on that side as well. So now you can see we've got more mirrored. Join them together. We Control J, press Control A, or transform. Set origin to geometry. And finally, then we'll copy these, as well. So I'm going to grab this one here. Gonna press Control L, copy modifiers. Come back to this one, and then what we're going to do is, again, as we always do, turn it down, delete it higher, and then simply subdivide, shade or two smooth, and there we go, that's those pieces on there. Now on these, it might be a little bit too much on the displacement. So all I'll do is I'll close this up, come to my displacement, and I can actually put this on naught point note two. Let's try that. So it's not quite as high, and I think that looks much, much better. That's the other freedom you have with the modifiers. You're able to change things individually as well, which is great. Okay, so now we've got those bits in place. Now, what we want to do then is press one, make sure this is the front, and this is the part where the sign is actually going to go on. So first of all, what I'm going to do is, I'm just going to press shift day, I'm going to bring in a plane. I'm going to rotate my plane, so RX 90. Let's rotate it round. Let's press the S but then. And what I want to do is, first of all, bring in where my sin is actually going to be. So I think my sign just needs to be in between each of these edges here. And then what I'm going to do is bring it down to where I actually want it. So something like this. And then let's think then where do we want our sine to come down to? So how far do we want our sign to, you know, come down to? I'm going to look on my actual reference. So I'm thinking probably probably down to here. Something like this. Now, what I want to do then, obviously, is make sure that the sign is, you know, bent like our reference. So if you come to our reference, you can see it comes down to here. It's these 2 stones up, and then it kind of comes out. So it's quite an easy shape to actually create. So let's actually do that now. So what I'll do is I'll pull it out. Say that it starts bending around here. So control our left click, right click, grab the top of here, and just pull it up a little bit like so. Grab the bottom then, press the S&X and pull it in to where we actually want it, which will be something like this. And now I can see that I need to pull this up a little bit like so. I think I pull it up a little bit more, that might be about right. Might be a little bit still too big, but we'll see as we actually build it out. Alright, so now then what we want to do is we want to create we'll create the sign first, actually, I think I think that'll be the best way to do this. So what we'll do is we'll pull it out like yeah, we'll start work on this. Now, the first thing is, let's create the mil pot. I think, you know, I'm just wondering whether it's a little bit You know what? We'll go with it. We'll go with it. Alright, let's come in then, grab both of the faces, press the eye bone, and let's bring him in. Press again because we want it all coming in at the same time, so he can press again, like so. Make sure that where is it? Outset individual Offset even is on. So you've got offset even on. You can see the difference here. Like so. And then make sure that we've grow enough for that male. Now, thinking at the moment, if I press OTS, can I bring it in? No, I can't, so let's press the bun, bring it in a little bit. Like so. And now you can see that's looking a little bit better how that mel looks. Now we've got this. We need to think about creating the metal that goes around it. So online, I've actually split this up. It's important that you actually think about these things. How would the metal be? Would it be actually in one piece? Would it be in two pieces? This is important stuff. So what I'm going to do is I'm actually instead of having the mel where it's got kind of this angle join, I'm going to change that. So what I'm going to do is gonna press K for the knife. Click on this low point here, press the A born, and what they'll do is it'll straighten it out for you like so. Click on the edge here, press the ends bone. Let's press K again. Come over to this side, press the Abn, grab this edge, press the ends bone. And now what you should be able to do is, first of all, we'll split this off. So we're going to press P selection, split that off. And then what we're going to do is just hide this out of the way with H, come back to this. And I'm going to grab both of these then and press Y. And then I'm also going to press delete and limited Dissolve. And there we go. Now we've got this in two pieces. Now, you could have this in more pieces. It's completely up to you. But I think, for me, that's looking good. And then all I'm going to do is grab this one, press the and Next, and pull it out a little bit, grab everything, and then I'm just going to press E and pull them out just to make a nice, chunky sign because don't forget we're going to have, you know, kind of a rounded metal part on here, and then some chains actually holding this up. But so far so good with the actual metal. Now what we want to do is think about this wood that we've got in the center. So here is our wood. First of all, before doing anything, what we want to do is want to make it actually look like wood. So the easiest way to do that is press shift H, hide everything else out of the way, and then come into it. Grab this top edge and this bottom edge, right click, and what you're going to do is hit subdivide. So if I come down, where is it subdivide is this one. And if you come now back to your vertices, you'll see that we've got one here and one here. And then what we can do is we can press J and join that together. Now, still, we can't put one on this way because if you press Control R, you'll see that the wood looks silly like that, and we don't really want that. So the easiest way to do this is a little bit of faffing around, but it is an easy way. So if you grab both of these sides, press delete and faces, and then what you're going to do is you're going to come in. Grab both of these edges, press Shift desk, curse to selected, press the tab on. Control A, all transforms, right click, set origin to three D cursor, add in a modifier, generate, bring in a mirror, and there we go, now what we can do is if we press one, is we can press the tab on, press K then. And come from here. Now, we want the center of here. So the easiest way, first of all, is to come in, right click, press subdivide, come back to vertices, and now we have that little vertice there. We can press K now for the knife tool, grab hold of it, press A, and now it can come straight down to here, press and enter. Now, the best thing about this is now, if I come in, I've got the mirror on, which means that now I can apply this mirror and then split them up. So if I come in, press Control A on the mirror and now I can come in and press Y and then come to this one and press Y, and now these are all split up. So now I can press A, E, and pull them out. Like so. Now, the only thing is, when you've got a piece of wood like this, it's always probably better if you bring in, you know, some edges before actually doing that. So you know what I'm going to do before splitting them up. So I've just split that up there. I should be able to bring in a few edge loops, like so, because it makes it a little bit more wobbly, the more edge loops you've actually got in. Can I bring one in here? No, probably not. But what I could do is I could just press K, come over to here, press the A button, that's straighten it out, and then drop that in there. Now finally, I can come in, grab all of this, press the Y bone, grab all of this, going down, press the Y button, and there we go. Now I can press A on it all, press E to pull it out, like so, and that doesn't look a lot like wood, but it will do in 1 second. So let's now think about the wood. So I'm just wondering whether we're going to yes, we'll do the ward a little bit different. So what we'll do is we'll come in, first of all, we'll right click Shade Auto Smooth. We'll add in our first modifier, which will be all multi red. So add modifier, generate. Multi resolution, and there we go. And then what we'll do is we'll click on the simple a couple of times, like so. We'll hide that other way now because we obviously not going to see anything from that. So let's hide it. Let's now bring in a devil. And then what we'll do with the devil is we'll set this to naught point nut, naught three, like so, because we don't want it, you know, too chunky or anything like. And now what we'll do is we'll also then bring in now our displacement. So let's bring in a displacement, so it's under deformed member, displace. Let's set this to naught point naught naught two, and let's set this to zero, like so. And then what we need to do is obviously bring in our texture. Now, if we come on over to our texture. So let's come on over to our texture, click No. And the one we want is going to be under. Let's set this once again to Musgrave. So Musgrave, this one here. And then what we'll do is we'll set this down to naught point naught nine, something like this. And then we should get a little bit of a wobble, as you can see there. Now, the great thing is about wood, what you can also do is if we come in, so let's just press tag. We'll grab our wood, we'll press tab and A. We'll come over to mesh, transform, and come down to randomize. And then what you're going to do is turn this all the way down to not 0.1, and you can see there's still too much. Let's put it on note not three. Let's try that. And now you can see that we've got a lot of, you know, both with the modifier working on there, the bevel working on there, and the randomize we've just used, you can see now that's looking really, really nice piece of wood. Now, the one thing is that probably I've made it a little bit too thick this wood or my sign is not quite thick enough. So what I'll do is I'll just grab my sign first of all, Press controle or transforms right clicks a origin to geometry. Press S and Y, and as pull it out a little bit, and then grab my wood and just make sure that's actually in place, like so, and there we go. Now, finally, I'll just grab this top bit, as well. So I'm just going to grab this top bit, press S and Y, and just pull it out just so it's over the top of there. And there we go, That is our sign or the beginning of is our sign perfectly in place. I'm still thinking that this wood is probably a little bit too thick, so I'm just going to grab it, press S Y, and just pull it back in, like so. And there we go. I think that looks much, much better now. Okay, so let's go to File, Save it out, and I hope you're really enjoying the course so four guys, I hope you're learning lots and lots, and I'll see you on the next one. Thanks a lot. Bye bye. 8. Build Chain Holders and Metal Labels with Precision Detailing: Welcome back, everyone's game Masecration, fancy lights, and this is where we left the. Alright, so all we want to do now is want to put a part on here, which is going to be where the chain is going to hold onto. Now, generally, we could use the cylinder for this, but I recommend seeing as we want it, you know, kind of bevelled on the top and underneath, probably better off to just use a simple cube. So first of all, what I'll do is I'll come to this part here, grab the top, shifts cause it's selected. And then what I'll do is I'll press Shift day and bring in a cube. Like so, press the S bum and then what we'll do is just bring it up into place, like so, and then pull it out. So S and X, all the way out. To jus pass there, like so, so it should be just over the edges of here. And then what we're going to do is we're going to first of all, reset all the transforms. So reset all transforms. Always do this as well if you're going to bevel something. And then what we're going to do is just grab each of these edges with shift slick, press Control B, and then I'm going to just turn it up like so. Now, the other thing is, once you've actually beveled it, you've got a lot of controls down here. First of all, you can change these segments. You can also change the whip so it can bring it out in. Just be very careful that you don't cross it over. If you cross it over, you're going to have problems. You can stop it being crossed over. If we clamp overlap. So if we turn that on, we'll see now that we can turn it down, and it'll only go up to there, like so. So we just want it like this, as you can see. We can also, as well, turn down the actual shape or up the shape so it can bring it in, like so, or we can make it much more beveled. Like so. Okay, that's looking good. Now, the other thing is, I want to press tab now. I want to make this a little bit smaller on this part here. So all I'll do is I'll come in. I'll press Alt Shift and click just going around there. I'll press Alas, and then I can bring it in like so. And then what I'm also going to do is I'm going to press the S and the Y and just pull it in a little bit, like so. That's exactly what I'm looking for. Right, click and shade Auto Smooth. There we go. Alright, so the next part then is I want to press Shift A. I want to bring in then a cylinder. Now the thing is with cylinders, they always come in at 32 versus when you reload blender. I'd always recommend turning this down. I always find it a little bit too high. You don't want to turn it down too much, though, because if you turn it down too much, when you write click and shade Autos move, you're still going to see a lot of edges kind of going round here. The thing is on the edges on here, you can see. There's a kind of edging going round, which you can actually clearly see. But being as this is quite a low poly asset, I think we can actually get away with 24 on this. Just bear in mind that can actually happen. Okay, so what I'm going to do then is I'm going to, first of all, make it smaller, and then I'm going to rotate it round. So I'm going to press R Y and 90 just to rotate it round, and then I'm going to press the Sban and I'm going to bring it out. Now the thing is it's not really in the center here. I do want it in the center. So what I'm going to do is I'm going to press Alt Shift and click. I'm going to press shifts, cursor selected, grab this one shifts and selections cursor and now I can pull it out. It's exactly in the center. Now I'm going to do is press S and X and make it a little bit thinner, like so. Make sure then it's right on the edge of there. And then finally, I also want an end on this as well. So I'm just going to come grab this face, press the I but like so, and then press the EB just to pull that out, like so. Now I'm going to do is I'm just going to press Control A or transforms set origin to geometry. Okay, so now we've got this here. What we also want to do is create a chunky part on here like a kind of bolt. So first of all, let's come in, though, press shift desk to selected. Then there's press Shift A, and what we'll bring in is a cube. We'll make the cube much, much smaller. So I'm going to press Sp to bring it down like so and then I'm going to press S and X to bring it in. And we'll have it going round about there. Now at the moment, I'm going to probably press Shift DE. So I'll press Shift D, and I'll just pull this over. So I'll pull this over like so. I'm going to come back to this then. And then what I'm going to do is just grab each of these ends. So I'm just going to grab the corners of this like so. And then what I'm going to do is press Control B and just bevel those off. Now, the thing is I don't really want them beveled off like that, as you can see, so I'm going to turn these segments down, and it should give me something like that, and that's exactly what I want. And then finally with this bit, then I'm going to make it a little bit smaller, and this then will be the bolt that comes out of there. So I can grab the top off here now with facelect, pull it out, and then press the S bone and pull it in, like so, and there we go. That's exactly what I'm looking for. Now I can do is I can join all of this together forest Control J. And now we want to do is come back to this. We've grabbed already all of this, so I can press Shift desk cursor selected. Grab this part then, Control AO transforms right clicks origin to three D cursor, and then we'll come to the modifiers tab, adding a modifier, and the one we want is going to be the mirror. That then is going to put it on the other side, and there we go. Now, let's think about this center part now. So again, I want the center part to kind of follow this, and it's going to have an actual sign written in here. So let's press Shift. We'll bring in a plane. We'll rotate the plane round. So Rx 90. Let's rotate it round, press the S born. So bring it down to there. I'll make it a little bit thinner, so S and X, like so. And then what I'll do is I'll actually pull it out so it's on the front of there. Now, this is just going to be metal. It's not going to be wood or anything like that. So what I'm going to do is I'm going to bring this part down now. So grab this edge, press E and Z, pull it down, S and X. And pull it in and maybe maybe up a little bit. Like that. That looks round about perfect to me. So then what I can do is I can press L. I can shove it back onto my wood. So keep going, keep going, keep going. Run about onto there. Press the E button then, like so, just to extrude it out to give it some thickness. And then what we want to do now is press the I button to bring it in, like so, and this one's going to be all metal anyway. So just make sure again, offset even is on. Make sure you're happy with how thick this is. If not, press the button just to bring it in. Now, the other thing is before I do that, let's just press Control A and reset all the transforms. You should get better um angle on this. If you bring in what I mean is, you should get a better thickness on this. It should be more even. Sometimes ends up a bit uneven if you don't do that. And then finally what we'll do is we'll press the E button, yours to pull that back into place. Like so. And that is where our sign will be. Now I want to do is want to put the bolts that are going to go onto these parts here. So what I'll do is I'll bring in. So shift day. Let's bring in another cylinder. We'll keep it on 24. We'll press the S bone. Like, so we'll rotate it round. So our X 90, we're going to press one, and then we're going to put this into place. Obviously, it's a little bit too big still, so let's press G and bring it into place like so. And then what we'll do is we'll pull it out. First of all, we'll press S again a little bit smaller, press S and Y, like so. And then what I want to do is I just want to bevel this top off. So just this little bit of a top. So there's two ways of doing this. We can come in and we can press the Ibn. And then what we can do is just pull that out like so. And I think that's going to do it. I don't think I need to do anything else. And then what we want to do is grab the back of it, press the Ib and then press E, just to pull it out. And there we go, right click, shade Ato smooth. And then we sure be able to now put that into place. We will want it in our metalwork. Like so maybe a little bit further in. Alright, that's looking good. Now, let's bring down this one. So what we'll do is we'll press shift D, and we'll bring it down to here, and we'll make it a tiny, tiny bit smaller. Like so. We put it round about there. And then what we'll do is grab them both. We'll press Shift D, and we'll bring them over. And I don't like them always looking so uniform, so I tend to just move them slightly, like so. So they're not quite uniform. And then what we can do is we can join all of these together. Like, so we can even join them with this as long as we're not going miroron. Now, with this mirror, we might as well apply it now. So let's press Control A to apply it, and then we'll press Control J. Join everything together. We'll even join this up, as well, making sure there's no modifiers on there. Control J, and then Control A transforms set origin, two geometry, right click, shade or smooth. And finally, finally, what we'll do now is we'll put the same modifiers on these as what we've got in our brick. So if I grab these, grab this one, press Control L. Control L, and we're going to copy modifiers, come back to it, right click, Shade Auto smooth, come to your multi res, turn it down, delete higher, simple, twice, and there we go. Now we can see we've got a lot more variation here. You can see bent in certain places. These are a little bit bigger. But now, we'll just make sure that these parts here, for instance, I'm just looking to see on the metal. What the actual modifiers are. So let's just make sure that the modifiers are correct. So first of all, on these, we've got a devil, note point, not not five. That is okay. Let's come to our displacement now. So open up displacement, close the bevel, close the multi s, and we'll put this on note point, not not four.'s turn it down a little bit. Like so. And I think now that looks a little bit better. It's not quite as uneven. Alright, so that's that part. Now, the next thing that we want to think about on the next lesson is going to be our chain. We've pretty much got everything ready now for it. We just need our chain. That's going to come up to here. And I'm going to show you two ways of doing it. The first one will be the jump chino that actually comes with this pack. So in the resource pack, and the second one is just making out of a taurus, which gives you two variations. One's much easier to use than the other one. One's much versatile. So it's up to you which one you actually want to use. Alright, for now, though, let's come and save our and I'll see her the next one, everyone. Thanks a lot. Bye bye. 9. Design Realistic Chains Using Geometry Nodes and Modifiers: Welcome back, everyone to Game Masse corationsFancy lights, and this is where we left it off. Alright, so first of all, what I want to do before doing anything is, I want to come in and actually grab these parts here, so I'm going to grab these. And what I'm going to do then is press Control E and Mark Shop. Now, before I do that, you can see at the moment this is what they look like. If a press Control E, you can come in mark shops, and then you'll see now, it just gives them that little bit more edge on there, and I think makes them look a little bit more defined as well. So you could also come in and put in a sharp, let's say, along here. So let's just see what that looks like as well. So I'll shift and click Control E, Mark Shop. And there you go. Does that look any better? Probably so, probably so. So let's do the same thing on these, as well. So Alt Shift and click. Now, if you're having trouble zooming in like this, just press the little dot but. That then we zoom you right in, and then you're free to zoom around. Makes it just a little bit easier. So controle and marker shop. And there we go. Now, let's put the next ones in. So what I'm going to do is I'm going to make them a little bit bigger, and we're going to put them up on here somewhere and then have the chain going down. So if I come into one of these, I can just press L. It's not got seams on it, so you can actually do this as well in face select. And then what you can do is press Shift D and just bring it up like so. Now, we want to make this bigger, but just make sure that you're on medium point individual origin sometimes stretches them out the wrong way. And then what we're going to do is just press the S bone and should be able to pull them out, like so and put them in this top bit. Now, these look a little bit big on here, so I'm just going to put them in the top bit like so, make them a little bit smaller. And what I'm also going to do is press S and Y and just squish them up a little bit more. And then hopefully my chains should be able to go in there. Now, the other thing is, if I press one, I basically want my chains to come around about here to be good support. So what I'm going to do is just pull it over like so. And for now, I'm only just going to do one chain. Once I've got the first chain in, then I can do the other chains. Now, I did tell you that there is two ways of doing chains. So the first way is using Taurus, and the other way is using a geometry node that we actually created. So let's first of all, try the geometry node. So what I'm going to do is just open up my resource pack. I'm going to bring it over here, and you can see I've got change mag notify, drag this and drop this in, you can see that we can actually append it, and there we go. Now it takes us in to the blender file, and then you can go into the node tree, and you'll see chain node there. Just double click that, and there we go. Now, it doesn't look like anything happened at the moment, but it actually has. There is the chain geometry node in there now, and all we need to do now is press Shift A and bring in a curve. So let's bring a curve path. It does make it a little bit easier, and then I'll just make it a little bit smaller, like so. And then what we'll do is rotate it. So R Y 90. Let's rotate it round, make it a little bit smaller. Now, again, before adding any kind of Jumptonode or anything like that, just make sure you press Control A transforms, set origin to geometry, add in a modifier, and we're going to add in a geometry node. So you can see here geometry node. Click the little down arrow, and then you can see we've got chain Jumptonode. Now, when we first bring that in, it doesn't look like it's any good or anything like that. That's because we've std these defaults. So all you need to do is just turn it up, like so. And then what you can do is you can now bring down the chain link dimension. So if you look, I can bring this down holding the shift board and make those line up a little bit better. We can also change the chain radius, and again, then you can come down and link them up, like so. And the good thing about this, as well, is you can also change the stretch on here as well. So you can make them really, really tight if you want to. All you need to do is just make them smaller, for instance, and now you're free if you come to the bottom, just to press E and put these chains wherever you want them to go. Now, that is the first way then of creating chains. Very dynamic. You've got a lot of control over how it's actually done. But I want for this one, at least to create chains that are a little bit longer. So now I'll show you the other way. So what I'm going to do is first of all I'm going to press Shift A. I'm going to make sure that my cursor let's put our cursor, let's say around here somewhere. So what I'm going to do is just grab this spot over here. So this one here. I'm going to press shifts, cursor selected. And then what I'm going to do is then press Shift A, and we're going to go to mesh, and you can see within there, we've got one that says Taurus. Bring that in. And then what you want to do before doing anything else, you can see we've got tons and tons and tons of this along this. So let's turn those down something like 18. And let's we'll leave that on 12, actually. And then what we'll do is we'll just right click and shade Oto smooth and you'll end up with something like this. Now, you can see, because we've left that on 12, we've got all of these kind of edges on here, and we don't really want those. So let's delete it. Let's press Shift A. Bring in our taurus again. I will stay on 18. Let's put the other ring then on 18. Press the tab bone right click and shade shade Atos move. And now you can see that's looking much, much better. So let's first of all, then turn it round. So X 90, like so. Let's make it a little bit smaller. Like so, and the good thing is about Tauruses is I can actually bring it in. So how would I do that? First of all, we can grab the whole thing and we can press lns and we can actually bring it in in this way. And then what we can do is we can press the Sp and bring it down. And finally, what we can do is we can come in now and just delete these halfway points. So if I press Alt Shift click Alt Shift click, delete and faces, like so, come to the bomp L, delete faces. So let's delete and faces. And then what we're going to do is we're going to come in to the bomb off here. So if I grab this one, Al shift click Ok shift click, E Z bring it down, so it follows the xaraxis like so. And what we're going to do then once we brought it down to where want it, press shifts, cursed to selected. And then finally, what we're going to do is press Control A, all transforms, set origin, two, three D cursor, so. Now I'm going to come over and add in a mirror modifier. So adding a mirror, we'll put it on the let's have a look. Hopefully, there's one. Yeah, said, there we go. And now you can see we've actually got the chain. Now, the thing is, as well, it looks a little bit too big at the moment, so let's make it much, much smaller. And it also looks a little bit. It doesn't look thick enough at the moment. So we're going to do is just press A alterns and pull it out just to make it a little bit thicker, like so. And then what I'm going to do is just bring it back into place. Like so, and now you can see, that's looking pretty nice. Alright, so now we could use some modifier to actually bring this down to here, but we're not going to do that. What we're going to do is just the simple way of doing it. So first of all, though we've got this mirror on here, as long as you're happy with how this looks, you can come in and pull this out, and it will stretch those up, and then you can join them together if you want. I think, for me, I'm quite happy with how this one is. So all I'm going to do is press Tab, Control A, and apply that. Then I'm going to press A. And what I want to do now is make sure that this is all joined together. You can see here. I'm grabbing it all, and it's actually all coming this way, which means that even this part here is joined together, and that's exactly what we want. Lastly, as well with mirrors, sometimes, when you actually add one, it can add in a face in here. It hasn't done on this occasion, but sometimes it does that, so just be aware of that. Next of all, then what we're going to do is press Shift D, and we're going to bring this down like so. And then what we're going to do is press Rz and 90 like so. Now, rather than, you know, bringing it all the way down to here, that wouldn't be very good. So let's just make sure, first of all, that we're happy with the size, that this is sat in the chain correctly. So if we bring this down, so it's sat in the chain correct. Join them up with Control J. And then what we're going to do now is press Control A, all transforms, right click set origins geometry, add in a modifier, and this time, we're going to bring in an array. Let's set this to zero. And then let's set the z. So bring not the z. It looks like it's the Y. Not the Y. Sorry, the z, there we go. And then let's bring the z down to where we actually want it. And then from there, then we can actually increase the amount of chain like so. And now you can see that's looking pretty nice. Now, the one thing I would say is that this chain at the moment, it's still a little bit too big, so I'm going to press the S bone and just scale it back a little bit. And then what I'm going to do is bring it up, so it just hangs on top of that. Now, the other thing is I don't really want in the wall like this, so I'm going to grab the whole thing. So this part here, you can see, is joined to this. We don't really want that either, so I'm going to come in L P selection, separate that out, and then I can grab both of these now and just pull them out a little bit and make sure that this part of the chain is not in the wall like so. Now, to finish this off, then let's increase the count. So we're going to increase the count to there. Mine's worked out pretty much perfectly. You can see from here, though, that we do have an issue where it's not quite in the center there. So I'm going to press G, make sure I've grabbed all that. And then what I'm going to do is just move it over holding the Shift boon, like so, and there we go, that's looking pretty nice. And the one thing is, I would say this is a little bit too big at the moment, so I'm just going to press the SP. You can see there we've not set our transformation, so let's press Control A or transform set origin to geometry. Then let's press the S bon, and then let's also pull it out, like so. I'm going to grab the back of it, then. So I'm just going to press Shift H, come to the back of it, and I'm going to pull this back out. So I'm going to grab this back, pull it out, press delete because I'm not going to need the back of it anyway and delete faces, and there we go. Now, let's press AltH to bring back everything just to make sure everything's in there, like so. And there we go. I think that's looking pretty, pretty nice. It looks strong enough to hold that. And so now all we need to do is we can probably get away with joining this chain up to here. Now, let's just have a look at this multi resolution. So what I'm going to do is just bring it down in a minute. You know what? I think I'm much happier without it on now. So I'm just going to click Delete it, and then I'll delete it off. I'm also going to come in as well, and I think I'll do it for just these, so I'm going to come in, maybe even this one as well. So maybe even this let's have a look what it looks like if I do. I'm going to press P selection. And then what I'm going to do is come to this one and delete the Multi resolution. And I think, yeah, that looks actually better. I'm going to also try it on here as well. Let's delete it off. Yeah, and I think that looks better. So yeah, we're gonna leave it at that. So what I'm going to do now is, first of all, I need to just, if you look, pull this a little bit this way, so I'm just going to line them up. Grab both of them, then, so I'm going to grab the chain. Then this part, press Control J. No not. I'm gonna come to this first press Control A on the array. Then grab this one, press Control J, and join them up like so. And you can see what it's done, is it's made them a little bit thicker, and that is because, of course, we've got our displacement on there. Now, you might want to come in and turn that down a little bit. So if I come in, click on it, put it on note point, note not two, maybe, and I think that then looks perfect. We've still got a little bit of wobble on there. Alright, so now we want to do is we want to put it on the other side, so I'll use this to do that. So shift desk, cursor selected, grab this one then Control A all transforms, right click at origin, two, three D cursor. And then what we're going to do is add in a modifier and bring in a mirror. And finally, guys, there we go, that is looking pretty nice, and then we can go up to file and save it out. Now, on the next one, what we're going to do is we're going to bring I think, first of all, we'll do our stone slabs. So we'll do some stone slabs in the bottom of here. And then what we'll do is we'll bring in some lighting so you can really get a feel of what that actually looks like. Alright, everyone. So I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 10. Organic Stone Slabs with Displace Modifier and Randomization: It Welcome back everyone's game Mastercration, fantasy lights, and this is where we left the O. Okay, so what we're going to do now is the actual floor. So what we'll do is we'll press shifts and cursor to world origin. Shift A, and we'll bring in a plane. We'll make the plane a little bit bigger, something like this. And then what we'll do from here is we'll create those stone slabs. So I'm gonna press Control R. Left click, right click Control B. Let's pull it out. So we're going to make these middle slabs, you know, slightly bigger than the outside ones. And then what we're gonna do now is divide it by two. So Control R, and scroll your mouse for your loved ones, and then left click right. I'm just wondering if I actually want that. You know what? I'm gonna press Control Law, put it in the middle here and then Control law, and I'll put it mainly around here and I'm going to grab this one and pull it over there, so this is sat, you know, on this middle slab, so I think they'll look better, something like this. Alright, so next of all, then what we want to do is we want to actually split these up. So what I'm going to do is I'm just going to grab all four corners, first of all, I'm going to press Y, hide them out of the way. I'm going to grab then these two here. So Y, hi them out of the way. These two here, Y hi them out of the way, OsH, bring back everything. And then what I can do is I can press E. And grab in just press Control's head again. So control shifts head just to make sure I haven't used extrude on these, because the thing is they're so close together. If I try and use mesh cleanup and go merge by distance, it's going to join these all back together. I don't really want to do that again. So all I'm going to do then is just bring them up or bring them down. Now, the thing is, if you bring them down, just be careful because what happens is, if you come over here, you will see that you've got that says face orientation. You can see everything is correct on here, apart from these. And that's because we extruded down. If we extrude up, it wouldn't have been red. What that means is that basically the faces on this are facing the wrong way. Now, if you're taking that into unreal or something, what happens is you have a shader that only is one sided shader. You can get two sided shaders, but they're quite heavy on performance. So we basically look at this and say, Okay, these are the wrong way around it's based without having something inside out, we need to turn it back the other way. So what I'm gonna do is, I'm just going to press Tab, um A to grab them all and then Control N. And what that's going to do Shift end, sorry, is spin them round. So shift end, spin them all round, and there we go. It's looking much much better. Next of all, then what I want to do is I want to press Control A, or transform, set origin to geometry, grab this pot now, press Control L, and what I'm going to do is copy modifiers. Then we're going to do is just grab these. I'm going to come over to my multi res, turn it down twice, delete higher, sorry, and then press simple twice. So right click shade Auto smooth and there we go. Now the thing is I'm still not, you know, that happy with how these L. I think they need I think they need actually a lot more doing with them. I think they're still a little bit too even and things like that. So I'm just going to, first of all, come to my display. And what I'm going to do is, I'm just going to move it up one, see if that makes them look any better, and then I'm going to come in and bring it up a little bit. So I don't want to bring up too much, just a tiny bit. At the moment, it's on Note point, nought note five. I think also let's bring it down just below. So let's put it there again. And then let's put it on note point nut nut A, something like that, see if that makes them a bit more uneven. You can see now they're looking a little bit more uneven. And the last thing, as well, that I want to do if I come in, I can also come in and let's say, just grab one of them. I can come in then and also grab this, and I can also make sure that at the moment, it's unconnected only. So this is proportional editing, so that means I can pull these up then, like so. So I can pull this one up, for instance. Don't go too much. By the way, it's just a tiny, tiny little bit, just to make them a little bit uneven. Like so. And then let's do the same with this one, just a tiny, tiny bit. And you'll see now look they're looking really nice. This one might have gone a little bit too much. You can also see that I'm pushing it through the floor a little bit. So sometimes, instead of using proportional editing, it might be easier just to turn it off and do it that way. But I do prefer using proportional editing, to be honest. Alright, something like this, then. And then what we'll also do is we'll come to this one, for instance, and just pull it out a little bit, pull this one in a little bit, maybe pull this one out a tiny bit, this one in a little bit, something like this. And then finally this one in, and then we'll work round the other side. Jas pulling them in, Jaws a tiny bit. Like so. And there we go. You can see just how nice that actually looks. Now, the next thing is the bevel. Do I need a little bit more bevel? Let's open up our bevel and let's put it up a little bit. Like, so does that look any better? Not actually sure about that. Now, the other thing I could do instead of turning the hops, turn that down one is I could apply this multi res. Now, before doing that, just make sure you save about your work. Let's hover over the multi res and apply it, and then you'll see now we've got all of this to work with. And what we can do now is we can come in, go to mesh, transform, and go to randomize and then turn this all the way down to something like note note one, something like that. And there we go, now we've got fairly unevenness on here. Now, before I did that, what was this one looking like? You can see there probably gone a little bit too much. You can see they're actually crossing over a little bit on there. I think you know what I'm going to do with this. I'll just add the multi red. I'm going to pull this one out a little bit, so I'm going to grab the whole thing, turn off proportional editing, and just pull it out just so it's not quite touching. Stop touching a little bit.'s pull it out. Yeah, and I think that looks a lot better. So I think I'm going to leave them like that, actually. I'm just wondering if I can also bring up my displace a little bit, so I'll put it on note, point, no, note. Let's pay note point, note, note five, or we could entirely remove the display. I'm just wondering if we should do that, or even we could change the noise on it if we wanted to. We've got many, many options what we could do here, guys. And I think what I'll do is I'll just come in one more time. I'm just thinking what I'll do is I'll just grab the top of them. So sometimes what I'll do is instead, double tap the A and press the C button, and then I'll just grab a load of them like this. So just a few of them, just from the top. And then what I'll do is I'll come in and mesh, transform and randomize, and it should only randomize like the ones you've actually got, as you can see. And then what you can do is you can really turn this down a little bit, and you'll get a bit of lumpiness on there. And I think now that's looking a little bit better. Alright, so far so good. Okay, so I'm happy with that. Now, the next thing then we want to do now we've done all of that is we want to bring in some basic lighting. Now, first of all, you want to make sure if you come over to your render engine. We want to make sure this is on cycles, first of all. We also want to make sure that this is on GPU. But before doing that, you want to go to edit preferences, and you want to come down now to where it says system, you can see at moment this is my laptop here. You can see it's on Opticsx. You definitely want it on OpticsX if it's available with your G four RTX 50 80, min is available. So this is the one that you actually want on. We also to make sure that we're on Vulcan. Now, when you put Vulcan on, you can see you've got OpenGL and Volcum. Volcum will definitely speed up your viewport. Definitely put it on if you can. You will need to save out and restart your file again, but once you've done that, everything should be good to go. Alright, so now we've done that. Let's close it down. Come back over then, and what we want to do is put this on GPU. So that's making sure that, you know, when we come to render it out, we're going to use our GPU and our CPU because the GPU is way, way faster, not even a comparison normally when it comes to rendering things out. Next of all, then we've also got, as you can see, we've got denoise here and we've got denoise here. We definitely want to denoise it in our view put, that's for sure. And we definitely want to have it on denoising with our render. Now, the other thing is you can also set this to optic sex, so you can see at the moment, it says, an automatic. I generally set this optics X just to make sure it is on there, and I also set this one optics x, as well, because it is going to speed up this. Now, the final thing you want to do, even though we're not going to be doing that yet, I want to turn down the amount of samples that we're rendering that. This is basically, if you think of this, let me just put it on there. Like so. Not got number locked. There we go. This is basically how much time it spends on each part of the image rendering it out. So, of course, the higher you set this, the less blurriness you're going to get, the more sharpness you're going to get and all of that sort of good stuff. Now, once you've done that, let's close these up. So we'll just have this render open and the sampling open. I like to always keep these open. Now, the next thing, I always get used to doing these same things. So if you come down now to light perhaps, you will see that you've got one that says transparency. It's always a good idea, especially for trees and things like that, that you get used to turning this up. You can also, once you've done this as well, just take these options and put them into, you know, your own blendfils and you'll have them there as well. Now the next thing we want to do, we don't want to mess around with any of this because it's a little bit too much in depth. You're not going to get a big, big, drastic difference of performance. So what we're going to do now is come down to where it says. Let's just have a look not on curves. We don't want to mess around with the film. Let's come to performance. So what you want to do is, first of all, you want to use tiling. You want to put it on 2048, so just make sure this is on that, and you want to make sure persistent data is on. Persistent data being on means next time you come to render it after the first time, it will actually be quicker. Because it actually caches part of that render. Then we come to compositor, and we want to make sure this is also on GPU because we will be using compositor in the long run as well. Apart from that, guys, everything is pretty much set up now. We don't need to worry about a lot else. And now we can actually come in and click this. Now, before doing that, just press file and say, sometimes, if you've got a load of shaders in there, it's going to take a few minutes because it has to load something called kernels, which is basically saving out all of the shaders and things like this once it's actually brought them in. So now we can just come in and hit that render bun, and you will see that we end up with something like this because, of course, we've got no light in there. Now the thing is on the next lesson, we're going to be bringing in some light. I'm going to show you really, really nice way of bringing in light. If you want to better viewers we, you can turn this off and you can see exactly what that's going to look like. So the next lesson, hopefully, we're going to bring in some light. We're going to start bringing in a ambient occlusion, and then you'll have a real idea of just how nice this is going to look. Alright, everyone. So finally, let's say about our work, and I'll see you on the next one. Thanks a lot. Bye bye. 11. Natural Lighting with Sky Texture and Ambient Occlusion: Welcome back everyone's Game Ase creation, fancy lights, and this is where we left the Alright, so let's bring in some lights. Now, normally on most tutorials, they're gonna tell you to bring in a son or they're gonna tell you to bring in a three point light system or something like that. I'm not gonna show you that. I'm going to show you how to bring in a sky texture within blender, because I think that's the best actually to bring in. And once you brought that in, then you can bring in a three point light system, but I always recommend bringing in this sort of light source first. So if we come to Wild, and even if you bring in other light sources in the future, so let's say you don't bother this, use a three point light system. At least you're gonna know this is available. So what we're going to do then is we're going to go to world, and we want to bring in actual sky texture. So I'm going to do is hit the surface here, and you can see, if I scroll down, we should have one that says, sky texture. Let me look. I don't think it's actually there, so what I'm going to do instead is, I'm going to come over to my shading, so my shading panel, and I'm going to put this on wild, and we're going to delete the background. So I'm going to delete, and we're gonna press Shift A. And then what we're going to do is we're going to bring in surge sky, texture likes, bring that in. And then what I'm going to do is plug this in to the actual surface like so. Now, we brought this in on Wild, just so the other type is object. This is what you'll be doing with Luke, so we brought it on unwild and then we're free to play around with that. Now, if we go back to modeling now, you'll see this is what we've got, so you can see this is very, very bright at the moment. Not sure we really want that. Okay, so what we want to do now is mess around with some of these. So first of all, let's turn down the sun intensity because it's just way too bright. So not 0.1, let's turn it down. Let's also turn around the rotation to 23.6. Let's see if that's bar. Let's also turn around the sun rotation to 214, like so. And then what we'll do is we'll turn the air up to 1.89 oh, and then we'll turn the dust up to 5.921. And then finally, we'll turn the ozone up to 3.304, something like this. And now you can see we've got actually some pretty nice lighting on there. Alright, so as well, you're free to mess around with these. I recommend if you run in a lower system before rotating your son, always, always save out your wig, because I found that actually crashes low end machine. So just be very careful with that. You can see as I rotate this round, you can see how everything's rotating around. You can get exactly that sunlight. Now, don't forget this at the moment is basic lighting, just so we can actually see what we do. Alright, so the next thing then we want to do is we want to bring in a basic material. I use this all the time. It's like an ambient occlusion shader, and from that, I'm able to really, really see what this is actually going to look like. So that's what we're actually going to do next. So now we want to do is we want to add in that shade. So all I'm going to do is going to come over to shading. And I'm going to also put this on to Renove as well. So there we go. And then instead of it being on World, let's go to Object. Let's click New. And what we want to do is rename this. So we'll just call this ambient occlusion. So just a simple ambient occlusion, just to show you what I mean, so ambient occlusion. Shader. Like so. Okay, now what I want to do then is I want to comb, and let's think. Let's first of all, move this over here. In fact, you know what? Let's delete it. Let's start from scratch. So what I'm going to do is, first of all, I want to bring in a ambientocclusion. So ambient occlusion, like so. I'm gonna drop that there. I'm then go to bring in a color m. So color ramp, this one here. And then what we're gonna do is we're going to plug in the color from the ambient occlusion into the color ramp. Let's bring in then a mixed shader. So shift a mix shader. So is it mix shader. There we go. Plug the color into the fat, and then finally plug this into the surface of here. And now we want one more shader. So what I'm going to do is I'm going to bring in a principled, soap search principled BSDF and then we'll plug this into the bottom of here. Now, let's come in, and what I want to do is I want to put this on this first. So we'll grab this part here. It should be on there. If we come over to material, see, we've got ambient occlusion. Now, if I bring this up, we can see now that we have got something happening there. We can definitely definitely see more details of there. We can also come in as well and turn up this color or turn it down to red or something like that. Or you can just bring it down a little bit just to make it a little bit darker, like so. The other thing is you can also bring this down, but you can definitely see now we've got shadows under there in between these cracks. And, of course, you can push this as far as you want, and you can also change the distance so you can actually mess around with the distance. Let's put it on no 0.5, as you can see. You can see a slight variation there. Let's put it back to one. And we can also as well bring this even further up if you want to, like so. And it's just a nice visualization. Just remember that's all it is here, but you'll find that now if I grab the whole thing, grab this part last. So this one last, Shift select it. Control L. We can also link materials to it all, double tap the A, and there you go. Now you can see exactly what you've built, and you can see how it's actually going to come out. And from here, what I tend to do is I'll drop this down now a little bit if I need to so you can see it or I'll come in. Drop this back a little bit and add in a few midtones. So, for instance, I can come now to this one, bring it down, jaws to slight bit, as you can see, and just add in a little bit more midtones. And now you can see this is how it's going to look. Wow, that looks really, really nice. I'm really happy with, you know, how this is coming along. I'm happy with this chain here, and you really get an idea of when you're actually bringing in your textures and things like that. It's just a much better visual than actually not having any shaders on there. I mean, if we go back to the object mode, you can see it looks nice on that, but it's nothing like this. So I recommend, like, halfway through your build bringing in your you know, your lighting and then bringing in your ambient occlusion. And from there, you'll have a really, really good idea. Okay, so let's now go back to modeling. And then what we'll do is now we'll just put it on object mode once more. I'm going to actually turn this back on, as well. And we're gonna press Tab, double tap the A, and there we go. Now what we're going to do is we're going to move on then to this part coming out of here. Which will be a plank of wood coming out of here, sloping up, and then supports underneath. So let's do that bit now. So first of all, I'm going to do is I'm going to come in. I'm going to just grab this part here. I'm going to also, as well, I think, let's just have a look on here. Have we got any modifiers on here? We've got all of these modifiers on here, but you will see that I can come in and just delete this one out of the way. So let's just delete vertices because we haven't got a mirror on there, so it should be fine. Now what I'll do is I can come in and grab this part here, press shift desk, custom selected, shift D and I can bring in now a cube. So let's bring in a cube. Let's make it a little bit smaller. Let's make it a little bit thinner as well. So N's E, let's make it a little bit thinner. And we want it realistically to fit just along this spot here. So n's E, let's bring it down. So it just fits along there. So again, we don't want any UV wasted UV space. Now, this is how big we want it. And what we could do, honestly, we could come in and just bring this out and then press E, bring it up, and then just bend it like this. We can do it that way. That's an easy way of doing it if you want to. But there is another way of doing this, as well, which I think is a lot better because, again, it's nondestructive. So if I press delete on here and then press Shift A, bring in a curve Path, like so, press the S bone and bring it down, and then we can put our curve right around there. And then what we're going to do is come down to our curve. First of all, turn this resolution down. We don't need it so high. I will show you what that does in just 1 second. First of all, though, come to geometry, and we want to bring that extrude up. So what we want to do is just press dot. You want to bring it up just to fit in there. So I'm going to hold the ship born, bring it up just till it fits in there. And then what I'm going to do is now I'm going to come on over to my modifiers tab and I'm going to bring in a solidify. I'm also going to right click and shade flat because I find it easier to see what I'm doing. And then what I'm going to do is move this out. Now, you will see at the moment this is coming out basically on this sign. We don't want that. So just set the offset to zero, like so, and then put even thickness on. And now, guys, you're ready to rock and roll with this because you've pretty much got plank that you can do anything with. Let's pull it out a little bit. And I'll show you what I mean. If I grab this, then, how far, first of all do you want it to come out? So I think because we've got it like this, we can actually move this around as freely as we want. So first of all, let's press Shift Spacebar, bring in our move tool. And then what we'll do is we'll just bring this one over a little bit, grab this edge, put proportional editing on. And then what I can do is now I can press Y and bend it up, as you can see, but I'm going to zoom my mouse in a little bit, so I can press Y, bring it up. And then what we want to do is now we want to pull this, put up, like so. Now, you might be wondering you know, can we have it a little bit more flat? At the moment? It doesn't look too flat. So all I'm going to do is just use this one. I'm going to bring it up to bring it a bit more flat. If it's not fly enough, just press delete on one of these. We can add another one in anyway. So delete vertices, and then let's add one more in. So what I'm going to do, grab this one and this one, right click subdivide, grab this center one, turn off proportion, let it in, and then I can bring it down. And what I can also do then is grab all of these and press S, Z, zero. Enter, and that then will fl it all out for me, just like that. Now, why did I bring down this over here? So why did I bring down the resolution? You can see at the moment, this is what the resolution looks like. Depends if you're happy with that or not, but you can if you've got something a little bit more bendy, let's say, we can definitely definitely increase that. As you can see, now, these get increased. So I'm going to leave it on round about seven or eight for now, and then what I can do is I can build the rest of this out now and see exactly what it's going to look like. So if I bring in now another cube, so mesh, bring in a cube. I'm going to sit this cube just underneath this. So just underneath here, like so and I'm going to have it coming down just to the bottom of this part here. So I'm going to press S and say, bring it down. So let's pull it all the way down just so it's under. Let's press S and white and bring it in a little bit, grab the bottom of it, pull it up into place, like so, and then I'm just going to pull it out just to where it comes under here, and then I'll just pull it up a little bit, like so. I'm going to press delete and faces because we're never going to see this face anyway. And then finally, what I'm going to do is grab this edge. So I'm going to grab this edge in here. Now, the easiest way to do this is you can just come in and click this on, and then you'll be able to see your edge. So then you can click that off. And then all we're going to do is just pull it out a little bit. Now, if it's, you know, like this where you can just see all of it, just press old Shift Click. Make sure you've grabbed it again, you can see inside there, and then just pull it up into place like so and turn it off, and there we go. That's looking pretty nice. Now, I do think that it's probably a little bit too thick this. It doesn't quite look right. And also, it's a little bit thick this way, as well. So all I'm going to do is press S and Y, bring it in a bit. So S and Y, bring it in. And then I'm just going to come to the bottom of it now, so the bottom of here and just bring it up like so. And now I think that looks pretty nice. Now, what I'm going to do is then we're going to have some more chain coming from this part here. So this part here. So this might be might need pulling out a little bit more because we're going to have another part in here. If it does, we'll actually bring this over and put it up. So we're going to actually probably test that on the next one. So on the next one, what we'll do is we'll just bring in a cube and see how close we want it to. The whereabouts it's going to fit and all of that good stuff. Alright, again, let's come save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 12. Sculpting Structural Wood and Curves with Bevel and Solidify: Welcome back, everyone to game master creation, fancy lights, and this is where we left it off. Alright, so what we want to do now is I want to put my lamp somewhere just to see how it's actually going to land. So what I'm going to do is press Shift A, bring in a cube, and I'm going to move it over, press the Span to roughly the right sort, scar size way it's going to be. E and then just to pull it out to make it a little bit longer. And then what I want to do is press one and put it roughly whereabouts is going to go. So I think somewhere around here probably going to look good. If I look on my actual reference or you look on your reference, you'll see that this is round about the place where it's going to be, which means that this is probably not far enough out. Now, rather than, you know, just pulling this bit out, messing around with it. Let's do it a different way. Instead of doing that, what we'll do is we'll pull the whole thing out, and we'll have this come in just past here, like so. And from there, then we can see this is where our chain's kind of going to come. So let's just pull it out to round about there. And then all we're going to do then is I'll come in, grab this last vertice on I curve and pull that back in, and then I'll come to this part, grab the face over here, and pull that in as well, and there we go. Now, for the chain, better off grabbing one of these chains. Now, the moment, you'll see that we've got a mirror on there. We might as well apply at this point we know it's going to look good, so let's press Control A. And then what I'm going to do now is I want to really just grab all of this chain and split it off. So what I'm going to do is going to press L going down the chain, like so, all the way down. I'm going to press Shift D, bring it over. Press the P but selection, tab, press Control A, all transforms, set origin to geometry, like so. And then I'm just going to press one, and I'm going to bring it down then into the place where it's going to go, which is going to be somewhere around this point here because we definitely want it in the center of this or wherever this is going to go. So I'm just going to move it over maybe somewhere around here. Now, the thing is, I've done that now, which means it's going to make it easy for me then to build out the rest of this because we've got a few supports going down here and then a big chunky piece of wood that's going to come down this part. Now for the wood. Let's do that first because I might as well use this part here, seen as I've got it. Now, all I'll do is I'll just press Shift D because it's actually set up ready, and then I'll bring it down here. And all I'm going to do is just delete both of these vertices. So delete vertices, like so, and then I've got a fresh piece of wood to work with. Now, the other thing is when I'm doing this, generally, to make things easy for myself, I'll always just delete the center one as well. So delete verts. And what that means is now I've got a clean part over here, as you can see. Now, what I can do is now I can pull this into place, wherever it's going to go. So let's move it down. So let's say it's going to go here. And then what I'm going to do is I'm going to just bring it up. I want to bring it up onto here. Now, what I can do now is I can right click and subdivide and subdivide again, and then I can grab this part now and bring it up to where I want it, so I can come in, put proportional editing on, and just bring it up, as you can see. Now the thing is, might want it on sharp or something like this, so I can bring it into place. Like so and have it rounded off like soap. Now, the other bits, if you look on our reference, so if we grab our reference just once more, you will see that it's quite thin there, and then it goes quite thick going all the way up. You can see in here as well. We've got support going in here and then this little tiny support just under there. So what I'm going to do at the moment is just basically build this out a little bit, and then I'll come back to it. So first of all, you can see that it needs this part here doesn't need to go there because it's going to have a little bit of a chunky part in there. The other thing is, as well, you can see that this is quite, you know, quite solid going over here. I'm just wondering if I come in and turn this up on here, is that going to make any difference? I think I need to press Control A, all transform set origin geometry. Is that going to do anything? I don't actually think so. So what I'm going to do is I'm just going to go back a minute. And instead of doing that, so I'm just going to turn this down back to A. And instead of doing that, what I'm going to do is, I'm just going to press tab, A, right click and subdivide again. I'm just wondering if I can smooth this out in any way. If I can't get it smooth, what I'll do is instead is, I'll just restart the curve because sometimes this happens. I'm not sure why it's got these in there, apart from the fact that let's see where modifiers are going. Yeah, we've got all our modifiers on. I'm just wondering if I'll bring in a new modifier. So let's press Control A, all transforms the origins geometry, bring in a new solidify. I'm just wondering if I bring this out, yeah, it's still going to have a few issues. So you know what I'm going to do? I'm just going to delete that out the way. So delete vert says, and we're going to come back to that. So sometimes that happens. Let's first of all, press Shift A. We'll bring in a cube, so tab you can see here as well. I press tab and I might have something still there. Sometimes the little dot, you can see if I move this over, there's a little dot there. That's the curve still there. So I'm just going to press delete and delete it out of the way. Shift A then, I'm going to bring in a cube. I'm going to make this cube a bit smaller. I'm going to pull it down then into place like so I'm going to press the Spawn, bring it down, so ns d, bring it down. So let's pull it into place, then, pull it back a little bit, and then pull it over forward a little bit without proportional editing on. So I'm going to pull it forward a little bit, like so. And then I'm going to put another one in. I want them to be different sizes, as well. I want this one right here, and then what I'm going to do is press Shift D. I'm going to bring this one down. I'm going to pull it all the way back into wool. So just make sure it's into the wall into here, like so, and then make it a little bit bigger just so it's not the same size. And then shift D, bring it down again. Like so, and I'm also going to press S and Y, bring it in. Make sure it's in the wall. Pull it all the way down. I'm going to make this one a little bit thinner, so I'm going to pull it up and then pull it back, like so, and there we go. And then we want the final one. So the final one is just going to come under here. And what I'm going to do is press your D. I'm going to press S and Y, make it much, much thinner this one. I'm going to pull it all the way back. Like so. And I think I will actually probably bevel this out. So I'll pull it a little bit thicker because the moment it doesn't look like supporting anything, pull it down, like so, and then I'll press Control R. Left click, right, click right in the center. Press Control A, I'll transform, set origins, geometry. Grab the bottom of it. So just this boom here, press Control B. And then what I'll do is I'll increase. The amount. I'm also going to turn clamp overlap off. And now what I can do is I can bring this backwards or bring it down if I want to. And then I'm also going to invert it a little bit, like so, and there we go, right, click shade Auto smooth. Yeah, that's looking pretty nice now to support that. Maybe maybe it just wants to come out a little bit just to give it a little bit extra support. So I'll come in, grab the back of this, pull it back into place. And there we go. That's looking about right. And you know what? I think this is looking a good setup for this part. Now, finally, I can come in now and bring in that piece of wood that we spoke about. Now, let's just hide these out of the way just for now. And what I'll do is I'll press Shift A, and we'll bring in a new curve. And we'll try a path first. So I'm going to make it smaller, I'm going to bring it down. I'm going to press Control A or transforms right clicks at origin to geometry. And then I'm going to I'm going to You know what? I'll see if I can actually get it at the right scale this time. Now, let's do the same thing what we did before. So first of all, we'll come in and we'll turn up the extrude. Then we'll come in and bring in a solidify. So solidify. We'll pull this over here. Then we'll bring it up. So we're just going to bring it up, like so, and now you can see that's much, much smoother. So if you're right, click, shade flat, look how smooth that is now, guys. That's what we wanted. So let's now bring it over into place. And then what I'll do is I'll bring these over like so, and we want it. Don't worry if it's scrunched up a little bit there. We're gonna pull it up, and we're also going to put the solidify on zero, just to center it. Okay? Like so. And then what we'll do now is bring this one over. Like so we want a little bit more of a slope, so a little bit more of a slope, like so. Let's now bring all these up, so the jaws doneer here, like so, there we go. And now you can see that's looking much, much nicer. Now, the one thing I do want to do, I definitely want this bit to be thicker than this part down here. So the way we can do that is bring in proportional editing, press the alterns and now you can see we can actually make those a little bit thicker. And then what we can do is pull it back a little bit like so. Alright, so lastly, then, let's bring down the amount of resolution because we don't need all that down seven or eight. And there we go. I think that's looking pretty nice. All right, so let's double tap the A. And on the next one, then what we'll do is we'll actually start work on just getting this chaining because we've already got it here. We just need to actually put it into place. We'll get this bit on here, chain ready for the actual lamp. And then what we'll do is we'll work more on this part, getting this all refined, getting these little bolts and things like that on there. And then finally, we're on to nearly the last part, which is the actual lamp. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 13. Modeling Decorative Bolts and Finalizing Planks with Bevels: Welcome back, everyone to game Asset creation, fancy lights, and this is where we left off. Alright, so now, let's do the bit of work that we already spoke about for this part here. Let's first of all, I think, create I'm just wondering whether to use the brick one for this. I think we probably can. I think we probably can. Let's actually have a look at the wood one that we have. Yeah, we already have a wood one on here. So let's use it for, in fact, you know what? What we'll do first is we'll bring in these, like, three strips across here. So if we look at what we need to do, let's actually open this up. So we can see the, we've got three strips over here. We've got these beautiful kind of bolts going in here, and then we've got this bit on here, all to do. What we're going to do first is we want to bring in these parts. We want to bring in this part, and then we want to make this, so it's, you know, bevelled and looking a little bit wonky and all of that sort of thing. So that's the way going forward, what we're going to do. So let's first of all, come in, we need to convert this to a object instead of a curve. So what we'll do is we'll go to object. We'll come down to convert, and we'll convert to mesh, and now we'll see we've got this. Alright, so now we want to do is we want to make those bolts. Now the thing is, it's pretty straight going all the way over to probably to this point here. So what I'm going to do is I'm going to come in. I'm going to grab all the way probably to this bit here, like, so I'm just wondering if I need to maybe maybe I can bring it over a little bit more. I'm just wondering if I should do that. Maybe I'll make it a little bit straighter here. So let's go into there, right click and Mark a scenes, right click and Marks. And then what we'll do is face select, grab all of this and press delete, and we're going to limit to dissolve. And that'll make it then really nice and flat all the way over here. Now, what I want to do is I want to right click and shade Auto smooth, making sure that we've still got that smoothness on there, as you can see. And then what we want to do now is want to press Control 12, three, left click, right click. Let's move them over a little bit. Let's press Control B, pull them out, scroll your mouse wheel back, and there we go. We're going to have those little blocks that we've got. All right, so now we've got those. The one thing we can see is pretty much these are not straight. So you can see at the moment, they're a little bit wonky going around there. So we don't really want that. So what we're going to do is hold shift, click, Al, shift, click on the end of them, and then we're going to press, X, and zero. That's not going to work. So what we'll do is we'll press. Let's bring them into individual origins, and then S X zero, and there we go, now let's do the same with the next one. So Alt Shift click Alt Shift click, O shift, click, SX zero, and there we go, now they're nice and straight. Oh, they should be nice and straight. Yes, they're nice and straight. Okay, so now we'll do is Alt Shift click on each of these, like so. And then what we'll do is we'll press E break strewed and enter, and then AlterS and pull those out, like so. And then we'll do his press Control. Left click, right, click, control, left click, right, click, control, left, click, right, click. And what I'm going to do now is grab each of these. I'm going to press Control B and pull them out just so we get those bits on there that we need. And then, again, we'll come into FaceLeg and Alt hit click, oh, hit, click, Oh, shift, click. Oh, shift, click, Oh ****, click. Al hit click. E, enter, Alter Ns, bring them out. And there you go. You've got exactly what you want there. Maybe, maybe we've gone a little bit too far. We can come back and press tests again, bring them back in. But yeah, I think those are looking pretty good. Now, the moment of truth, let's see then what this is going to look like. Control R will transform set origin to geometry. Let's grab this part then, and then what we're going to do is grab this wood here. We're going to press Control L, and what we're going to do is we're going to link or copy, so control L, copy modifiers, grab this one, come to a modifiers tab, open up multi rays, turn it down, delete, higher and then simple like so. Okay, I'm happy with that. I think I need to move these over a little bit, so I'm just going to press Control Plus, being all this one. So control minus, if not, and then you should should be able to pull this over like so. Do the same then with this one, Control plus, going all the way up. So you can see that it's not done it properly, so Control plus once more, and should be able to pull it over. L so. Alright, that's looking pretty nice. Now, one thing I'm worried about is this part here. You can see it's probably pulled it out a little bit too much on this part. So what I'll do is I'll again come in, delete this part, delete higher, and then simple. And there you go. Now, you can see it's fixed all those issues. Now, run to this part here. Now, this part here, is it stone? Is it wood? Let's look on or reference, this is wood, so we know that, so we can do pretty much the same thing, understanding it's wood. So let's do that. First of all, though, let's convert this as well. Just make sure we've turned those down to seven, and then we'll go to object, convert and mesh. And then what I can do is I can grab both of these then. I can grab this one last. I can press Control L and I can copy modifiers, and then I can come into each of these, turning down, delete tire, simple. And then same for this turning down, delete tire, one, two, like so, right, click, shade, allo, smooth, right, click, shade, auto, smooth, and there we go. Now, the stones, let's grab each of these. We'll join them all together with Control J. We'll right, click, we'll shade or, smooth. And then what I'll do is grab these bricks, press Control L, and we're going to copy modifiers. Again, we'll open up our multi res, bring it down, delete tire simple, like so, and that doesn't look very good, does it? So Control A, all transform set origin to geometry, and probably a little bit too much on them. J wondering let's just turn this down once more. Probably the bevels a little bit too high on here. That's what I'm thinking. Let's have a look. No point noun five. Let's just turn this to zero just for now. And then what we'll do is we'll bring in a simple twice. No, it's actually it's actually going to be the displacement on here. So I'm going to turn this down to zero. And then what I'm going to do is put this on no point not note three. And then what I'm going to do is I'm going to come to my multi res. I wonder why it's up there. That's a little bit too high, isn't it? There we go. Let's put it on simple. You know what? I'm going to just see what it looks like with this on. So let's put it on note, point note, note one. Not that. Naught point. No, not one. There we go. Now, let's try naught point, not not three. Not point, no, no eight. Maybe that's a little bit too much, so let's turn up on mid level. There we go. Double tap the A. Yeah, and I think that's looking pretty good like that. Alright, so now we've turned this down to zero. You can get rid of your multi reds. You're not going to need that on. And you can see how we can play around with these independently of the rest of it and get the exact look what we're looking for, because some of them you know, some parts depend on where they are, like these bricks. It suits them really well, but on this part, it doesn't work so well. So that's why we've got the capacity to actually do that. Okay, so now what I want to do is just put in these little bolts that are going to go on here. So all I'm going to do is I'm going to press Shift A, first of all, we'll make this easy for ourselves. We'll bring in a cylinder. It's on 24 ready. We'll bring it down. We'll spin it round. So R, Y, 90, Rz 90, spin it round. And then what we'll do is we'll press the Sb, we'll pull it out and into place. Like so. And then what we'll do is S and Y, and we'll pull it back into place like so. We're going to bring it a little bit smaller. And there we go. And then what we'll do is we'll grab the front of it. We'll press the e bone, make it quite chunky, actually. Press the Ebn to bring it back. And then press the bone to bring it in and then finally E and bring it all the way out like so. Press Control A, then all transforms, right click, Shade Oto smooth and right click at origin to geometry. And then you're just going to come to this front bit. And you can see we've still got a little bit of a mess on here, and I'm not so happy about that. So before I even do what I'm going to do with this, I'm just going to come to this, press A, shift Dn and I just want to spin them round and you can see we've got a lot of broken mesh on here. So what I'm going to do is just going to put my mid level down because that is the one causing the issue. And then, instead of that, I'm going to put a note point note note three. And there we go, let's fix that issue. Now moving back onto this part, I'm going to press Control B, bevel it off, like so, and you can see at the moment because of how my bevel is, you can see it going in. We really don't want that. So let's bring this up. And then what we'll do now is pull this all the way back, and find that we don't want some sticking out that much, so we're just going to press S and Y and then pull it back again. And there you go, now you've got those beautiful bolts that we had on before. And then what we can do is we can press Shift D. Bring it over to where you want it again. I don't like it where they all look, kind of the same. What you can also do is just press Shift D. And because you're in front view here, so you press one to go into front view, you can put them wherever you want them. So I'm going to put one around here. Looks like it's supporting this and one around here, and there we go. And then I'm just going to grab them both press Control and J, join them together. I'm going to write cliques Origin three D cursor because that should be right in the center. Adding a modifier and we'll bring in a mirror. Let's put it on the Y, turn off the X, and there we go. Finally, let's apply that mirror. And then what we want to do now is we want to grab these, grab these, and we've got no mirror on there at the moment, so we can just press Control LL and copy modifies, and there we go. There is our bolts actually done. All right, so what I'm going to do now is I'm going to file, save our work. So pretty much we've done all of this going down to here, and the last part we need to do now is working on this actual light. All right, everyone. I hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 14. Modeling Complex Lantern Parts with Bevels and Extrusions: Welcome back everyone to Game AsecronFancy Lights. Now, before we do anything, if we go to our rendeview, we will see that we end up with this. So let's just grab all of these and grab this one last, press Control L. And what we're going to do is link materials like so, double tap the A. And now you can see exactly what you've got so far. That is looking really nice, guys. So now let's come in and first of all, create this part here. So what I'm going to do is I'm going to again go into object mode. I'm going to press Shift A and bring in a cube. I'm going to make it a little bit smaller. And then what I'm going to do is bring this into place jaw done here. So it's going to fit in there beautifully, like so. I'm going to press EnsE, bring it up. And it needs to look like it's actually got something that's going to really be chunky enough to hold something. So S, Sn, and that's the metal plate. And then what I can do is I can come in, grab the face here, press the e boon and then E, and then S and bring it in like so. Now, I need to check this chain. So what I'm going to do is I'm going to press shifts, and then grab my chain, shifts and selections cursor. I'm going to bring it down then, so we can see then. Either the chain needs to be brought down a little bit, so I made a little bit smaller, which we can do, or we can actually make this a little bit bigger. So I think probably on this occasion, I'll just pull it over and I'll make this a little bit more chunky because it is, after all, a stylized prop. So something like this, that looks absolutely great. And now we're on to the actual light. Now, what I'm going to do, first of all, is I'll hide this out the way because we know how big that needs to be now. And what I'll do then is I'll bring in a cube, first of all. I'll make it smaller. And the other thing is, I've moved it along so you can see now it's not quite in the sense, so what I'll do is we'll press Shift Desk, cursor selected, shift desk and selections cursor, and then we bring it down to where we need it, so it's going to be around about there. And then what I'm going to do is I'm going to start with the top bit. So the top bit is going to be in there. That's gonna fit nicely on that chain. And then what I want to do is press EnsE and then pull it up so the chain's actually in there. And then what I want to do is just bevel off these edges, so I'm going to come in, grab each of these, press Control B. Bring it down to one, like so to bevel them off. Just a little bit, like so. Now I'm going to do is I'm going to come in, grab the bom off here. I'm going to press the E button to bring it down. Now, one thing I think on this one is that maybe this bit here, this line here is maybe a little bit too thick. So if I come in, shift, click, pull it up a little bit, and now I've got this part here, which is probably a little bit too thick, as well. So I'll bring it up and then l ship click, and we're going to press E, Enter Alterns and pull it out into place, like so, and that is the top of that pot. Now we want to do is we want the pot coming underneath here. We probably want to have that bevelled off, as well. I'm just wondering how hard that will actually be to actually do it all in one go. We'll give it a try. We'll give it a try. So what I'm going to do is I'm just going to grab all of this I'm going to press E to bring it down a little bit, and then I'm going to press S to bring it out. And the thing is, you can see the way that I've done it here means that these are actually getting bigger. Now, we could do it so we don't have that, actually. We can definitely do that unless you want to do it all in one go or unless you want it to look like these are getting bigger. I think for getting bigger, I'm just wondering if that's the best way to do it. So we're going to have these chunky parts and then they're going to come down to this part. Let's have a go. Let's have a go. So if we pull it down, to let's say here. Let's have a look how big this is. At the moment, I would say, it's probably not going to work because we need to pull this even further out. In other words, we need to pull this all the way, probably out somewhere like there. You can see now they're pretty chunky. So I'm going to say, probably not going to work this time. So all I'm going to do is press Delete and faces. So delete faces, grab this part, delete, and Thesis, and then I can come now to this part, Alt Shift and click Shift, Custer selected. And then what we can do now is we can press tab, Shift A, and we'll bring in a cube. So let's bring in a cube. Make it a lot smaller to where it's going to go. So we'll say it's going to go just under here, like so. And then what we'll do is we'll come now to the bomb. So we'll grab the bomb, we'll press the S bon to pull it up into place wherever it wants it. So let's say something something around that sort of scale. And then what we'll do now is we'll still with the bob selected, we'll press E and bring that down to where I want it. So something like this, I think is going to look a lot there. And then what we can do is now we can come in and grab each of these on here. Like, so like so, like so, press Control B. And there you go, now you can see how we can pull these in. And that's looking pretty nice. And we can also, as well, bring up this to round about here. Alright, so far so good. Now what I want to do is I want to come and grab these going all the way down here. Like so like so, like so, and like so. And then what we're going to do is press E enter alters, and now we can pull them out. Thick as we want them and what's more, we should also be able to pull out now these going round here. So these come in round here. So we'll go the other way. So what we'll do is we'll press ShipClickG all the way around. Like so, like so, and like so, and then I'm going to press E, Enter, lanes, and I should then be able to pull those out, as well. Now, we can see that with this, it needs probably bringing in a little bit, or the other bit needs bringing out. So you can see if I bring it into there, you can see it's not quite fitting in that part there. So I do need these pulling in to this part here. So let's see if I can actually do that. So what I'm going to do? I'm going to grab each one of these center ones. Like so. I'm going to press Control plus, and that's not worked because I don't want to actually grab all of this. I'm just going to press Oc Shift click. I don't want this part Eva in it, so I just want these parts on here. Now, what I'm going to do is I'm going to see if I can put it on normal, and then I can put this on individual origins. And if I press S and Y, let's try that. Is it going to bring it in the way that I want it? So S and Z, let's see. I know that's not going to work EVA, so let's pry G and Z, and there we go, G and Z and bring it in. And there we go. I think that now is looking exactly the way that I want it. And it's up to you if you even want to go further, you might want to bring another part in here just to make it a little bit more ornate if you want it, so you can press the I boar and then press E and pull it out a little bit, so and let's go a little bit more than what we did on the first one. Alright, that's looking good. Now, let's come now to the bottom. And what we're going to do is we're going to press E to pull it down, like so. And I'm going to finish this bow then lt ship click, E, enter, alters, pull it out. So it's just past there, maybe a little bit more sales. And there we go, that is the beginning of our actual light. And it's looking pretty chunky, pretty nice. Obviously, it's not round off or anything like that at the moment. And I'm just wondering if I can grab these. So these parts here. Shift select, Control select, Shift select and Control select, press all tests. And I'm just seeing if I can bring them in just a little bit, like so just giving that a little bit more to it. Yeah, and I think that's looking a little bit better. Alright, let's press a file and save on what we'll do now. Is on the next lesson, we'll think about these parts in here. So we've got those chunky parts in there. We'll also press saltation. I just want to see how far down it goes. Not that part. Let's grab ice part. Pull it over. So we can see we've got a fair bit to come down here. I'm looking at how chunky it is, as well. Is it chunky enough or should I make it actually chunkier? I think I'm probably going to make it a bit chunkier now. So I'm just going to grab all of these, press G, just to make sure you've got them. Make sure that you've got it back on global. Make sure that this is on medium point, and then you can press S and you can scale all the thing up. So I'm going to put that down to there now. Double tap the eye. Yeah, and I think that's gonna look a little bit better that size. Maybe maybe I've still go a little bit too big, but we will see as we build it out more. Alright, again, let's say about a we, and I'll see you on the next one everyone. Thanks a lot. Bye bye. 15. Mirrored Spikes and Decorative Bands with Modifiers: Welcome back everyone to game Acid creation and see lights, and this is where we left it off. Alright, so what I'm going to do now is I'm, first of all, gonna bring in another cube. So what I'll do is I will put my cursor to here. So shifts, cursor selected. And then what we'll do is bring in a cube. So Shift bring in a cube. Let's make it a little bit smaller, like so. And let's actually, I'm just wondering the easiest way to do this. Yes, we'll probably make it a little bit smaller first. So N's Ed, make it a little bit smaller, S to bring it out a little bit. And then what we'll do is now we'll do N's Ed again. Like so, we will then come in to the top on face leg, press the bone, bring it up, so E to bring it up, press the S bone, and bring it in, like so. And finally, we will come in and bevel these edges off like so. Alright. Control B. And bevel them off. Like so. Okay, that's looking good. Now what we want to do is we want to put this onto here. So what we're going to do is, first of all, press controla or transform setgt geometry. Then what we're going to do is put snapping on and make sure that it's on the closest. Face projectors on and move and rotate or on, as well as a line rotation to target. Very important that you've got that one on. Then what we want to do is want to move this over. Not to there. We want to move it over to here. So I'm going to press seven, and we're going to move it over. And hopefully, it should go on to there perfectly. Now, you will notice something. This has disappeared into the mesh. And the reason that's happened is because our actual orientation look is right in the center of here. It's not at the bottom. So what you want to do is you want to make sure that the bottom. So if you come in, face select, shift desk, cursed to selected, right click Set origin, two, three D cursor. And now it's actually on the bottom. If I go up to the top now, and pull this over, you will see that now lines up perfectly with where we want it. So that is pretty much how we want it. Is it too chunky? Does it look a little bit, you know, too chunky? Is it okay? What do you think about that? I'm going to bring it over a little bit more. And that's not the right way, so I'm going to press seven, bring it over nice and straight. I'm going to also make it a little bit smaller, so you'll notice, it still actually grips where we actually want it. And that there, I think, looking about right. Now, if you want, let's turn off the snapping. Let's come to the top of it. And if you want to, you can just put this on normal, and you should then be able to pull it out if you want it a little bit spikier, let's say. Now we've done that, let's come to the center of the chain. Let's press Shift desk, curse to selected. Let's come back to this now. We'll press Control A or transform, set origin two, three D cursor, adding a modifier and what we're going to do is generate a mirror, and we're going to make sure that it mirrors on the other side. So you can see a mirroring on the other side. And then we just want to check to make sure everything's right. So do we want it a little bit bigger? If you do come press the A bon, make sure that this is on global, make sure that this is on individual origins, and then you can simply pull it out like so. I think that's about right. And then what I'll do is I'll just press Shift D and then RSE 90, spin those round, and there we go. Now we can do is we can make sure that we've got them perfectly aligned now. I think, actually, I'm happy with how that looks. So, yeah, that's looking good. And what I'll do now is I'll come to the first one, Control lay, come to the second one, control, and there we go, Let's move this a little bit over to the side. And now I want to do is I want to steal these. So what I'm going to do is I'm just going to come in, steal one of them. We haven't got any ron or anything like that, so I can simply press Shift D, and then I can press P selection, grab this one, Control A, or transforms right clicks origin geometry. And I'm not going to use the actual snapping or anything like that for them. I'm just going to make them a little bit smaller. And I want it, though, pretty much in the center. So in the center, pretty much like that. I'm not going to, you know, make it perfectly in the center. I don't need to do that. If I did, I could just set it to the cursor if I wanted to. And what I'm going to do is press shift D. Bring it over, like so, Shift D, bring it over the other side. Like so take a step back and actually have a look what that looks like. And yeah, I think that looks pretty good. Grab the mold then, Control J, and then we'll put Control A or transforms, right, clicks Origin, three D, cursor. And again, what we're going to do now is just with the mirror, so add in a mirror. So there we go. Let's put it on the Y, turn off the X, and then we go it's on the other side. Shift D then, and then Z, 90, spin it round. And then finally now we can come apply the mirror on this one, and apply the mirror on this one, and finally join them all up with Control J, control A or transforms. Right clicks origins geometry, and there we go. That is that part done. Now, we're on to the final part, really, which is the bit going down here. Probably the hardest bit. Let's use what we've already got. So we've already got this under here. So what we can do is we can start with this part under here. So all I'm going to do is I'm going to come in, I'm going to pull it down. Like so. I'm going to probably bring it in a little bit first. And then what I'm going to do is bring in some edge loops. So bring in a few edge loops. Left click, right, click. Grab this center part, and then let's put on our proportional editing. Let's try it on sharp first. So if I press S and bring that in, you can see, it's a little bit too sharp. So let's try one of the root ones. Let's press S. And there you go. You can see now that is looking pretty nice. Albeit, what we're doing at the moment is we're bringing in the whole thing and we don't really want that. So what we can do is we can come from the bottom, press Control plus, like so. And then what we're going to do is press Y, and we've just separate that off now. And now we can come in and press Alt Shift click. We can make sure that connected only is on, and now when I bring this in look, you can see that we're bringing in the whole thing. And now you can see that's looking pretty nice. Now we can also come to the top of it. And pull it out a little bit as well if we want to or we can even change it and put it on a little bit of a smoother one. Let's try putting it on. Let's trace shop, like so, and let's also pull it up into place. And I'm just wondering if I write click and shade Auto smooth, what that's going to look like, am I happy with that? You know, I think the one thing is, I think I want to come in and pull this bottom out, as well. So I think I want it coming out like that, and that's the shape that I actually want. Yeah, that's the perfect shape I want. Okay, so now we've done that. Again, we're going to split this up. So we're going to now do these parts here. So we'll do the bottom section in a minute. What I'll do, first of all, though, is I'll come in. I'll grab all of these, turn proportional heads off. We're not going to need it right now. We'll grab all of these, like so. And the other thing is, we've got some bands in there, and I think we'll do those separate, as well. With glass, it's better, actually, if you keep it a little bit separate. So what we'll do then is we've got all these now, we'll press E, enter, Olt and S, and just pull those out a little bit like so. And there we go. It's really starting to shape together now. Now, with these parts here, it's up to you how you want to do it. Probably I'm thinking the easiest way is probably just to bring in a cube. So I think we'll do it that way. We'll press Shift D, first of all, and we'll bring in a cube. We'll press the Spun in fact, we'll press Sn. I think that's going to be easier to bring it into here. And then what we're going to do is we're going to grab the outside of it, so shift and click and press Altns and then we should be able to bring that to where we want it, so you can see, is that going to be far enough, or do we need to bring these parts a little bit further in first? I would say probably bring these parts a little bit in. So what I'm going to do is just grab all of these on the inside, like so. And I'm going to press Alters and just bring them in a little bit, and now you can see we've got a much better edge there. That is looking much, much better for what we need. Now, the other thing is, you can see that these parts on here, they really need beveling off, so I'm just going to come round now. And come in and grab all of this. And the other thing is, we've got so much going on here. Let's make it a little bit easier for ourselves. I can just grab all of this, press the little question mark, and I'll just isolate everything off for now, and now we can see exactly what we're doing. Come back to that, and now I can just press Control B and bevel Dose in to where we actually want it. So, something like that. And the other thing is, you can see the bomb up here. Probably want it slanted down a little bit. So I'm just going to grab the bomb, press the S bone, and now I can get it actually slanted down to where I want it. Now, there's a lot of wasted space in here, so you can see, at the moment, if I go into this, you can see all of this wasted space in here that we really, really don't want. So all I'm going to do is I'm just going to press the ibu, bring that in. And then I'm going to press Delete and faces, delete that out way. Take this off, and this is what you should be left with something like this. So it's a nice bar going down. Now, finally, I think I want it a little bit thicker, so I'm just going to press S and Z and make it a little bit thicker and just make sure you're happy with it before going on to the next bit. So now I want to do is I want to bring this down, so I'm going to press Shift and D, bring it down to where I want it, which will be something maybe down to this part here. And then what I'm going to do is I need to be careful here because I want to bring it in, but keep it the same size. So first of all going to press S and bring it into something like there. And then to keep the same size, I'm just going to press S and Z, like so. And finally, finally, I think I will come in and press Ashit click going around here. So Alts click and then press the S but and just bring it out very, very slightly. Like so. Now finally, you can see, as well that I need to bring this in. So Alt Shift and click, press the S born, Js to bring it in, and I'm wondering if I've got some broken mesh there. So I'm just going to press ShiftH just to hide everything else out of the way. And what I'm looking for is just to make sure that none of this mesh is broken, which it isn't. Grab this one, press the S born. And bring it in, like, so press the old age to bring everything back. You'll notice because we did the isolation with a little question mark, it only brings back, you know, all of the parts that we've isolated out, which is really, really nice when you're working with something like this. Alright, that's looking good. Now let's go up to File, Save it out, and I'll see her on the next one, everyone. Thanks a lot. Bye bye. 16. Beveled Base Structures and Proportional Detail Modeling: Welcome back, everyone's Game Asset creation, fancy Lights, and this is where we left you off. Alright, so now we've done that. Let's focus on this bottom part here. Now, what I want to do is, as we can see that this is all one chunk at the moment. So even these if I grab it, it's all one chunk, as you can see. So it's up to you whether you want to create this bottom part from this that we've already got or create a new part. Now, generally, because we've got these little parts here, I would say it's probably easier to create a new part. So what I'm going to do is I'm going to press Shift A. I'm going to bring in a cube. I'm going to bring it down to where I want it. I'm going to make it a little bit smaller, press S and Z, and let's squish it up to the size that we want it, bring it into place like so. So whereas, do we want it, and then press the tab button, come into Face select. And then we're going to do is press Alt Shift and click, and then Alt and S. And then let's just bring it out, like so. And now let's bevel these edges off. So what I'm going to do is I'm just going to come two these edges, grabbing each of these like so, and I'm just going to press Control B and bevel them off, like so, and I think that looks nice and chunky and just about right. Okay, so now what we want to do is we want to grab all of this going around here. So Alts shift and click. So if I open up my reference, we can see now we're on this bit here. So we can see we're creating this bit, then we'll create this bit coming down, and then finally these little parts on here. Alright, so let's put that back down. Now what we're going to do then to do that is we'll press the eye button. Press I again to bring them in. Now, you can see we've got a few issues here with it not coming in properly, and the reason for that is because we need to set all of our transforms. So all transforms, set origin into geometry, and then what we can do is now press I and bring it in, press I again, and now you can see it comes in very, very nicely. Then what we can do is press E and enter, and then Alt and S and just bring them out gently just a little bit, like so. Now, if you want to slope them as well just because you can, put it on normal, like so. And then what you're going to do is put this on to individual origins, and then you can just press S and X, and you can bring them all in. Now, you can see that these top ones here, you can see are coming in downwards, and these are coming in this way. Now, it might not work for you that. So what I'm going to do is I'm just going to press Control Z. And then what I'm going to do, I'm going to see if I reset all my transforms, set origin, geometry, and now grab them, can I actually bring them all in one way? So what I'll do is I'll put it back on normal, make sure run individual origins, press S and X, and you can see here that they're not all come in the same way. So what we can do instead, is we can grab each of these like so. And then we can press S and X, and then we can bring those in, like so, and then we can grab each of these, and we can bring these in separately. So probably S Z or SY. Yeah, SY, there we go. And we bring them in, like so. Alright, that is exactly what we wanted. Now, let's think about this bottom part. So what I'm going to do, I'm going to press the tab button, I'm going to come into my bottom and probably because this has beveled on these edges, I don't think that we want to bevel on this part. So again, let's come in and we'll create a new pot. So' press Shift desk, cuss or selected, and then we'll put this back onto Global and then shift D and we'll bring in a cube. Let's make the cube smaller. So we're going to make the cube smaller, like so. And let's bring it down then. So we'll bring it all the way down to where we actually want it. So just in there, maybe maybe a little bit smaller even, like so, because we've got some pots that we need to put in here. So it's probably still a little bit too big. You can see we've got some chunky pots that we want to bring in there. And then what we're going to do is maybe I'm thinking probably bring it down a little bit more. So let's grab the bottom of it, pull it down a tiny bit more, like so. Now, let's see if we can actually bring this in. So what I'm going to do is, first of all, I'm going to bring it in a little bit like so. Jas to tad. And then I'm going to press Control arm, bring in some edge loops. Left click, right, click. Let's grab then this middle edge loop here. Let's put proportional editing on, and let's also make sure connected only is on, and then we can just press S, and hopefully, can we get that to go in? That's not the right one. So let's try our root. Yeah, and that one's going to work much, much better, just to give us that gentle slope that we're actually looking for right, click, shade or to smooth. And I think the one thing I think is that this is probably still a little bit too big, so I'm just going to come in rab it all. Without proportional editing on, and just bring it in a little bit. And I think I'll also pull that to there. So I'm looking at the length of this thing. I think I need to bring it in a little bit, so I'm Joe's gonna come in, put proportional editing on and bring in this part here. Like so. And now you can see it's a nice, gentle slope, and I'm probably as well going to bring out the top now. So we've got a top in there. If I grab that, I should then be able to pull it out. Let's see if I can bring this out to where I actually want it. Now, sometimes when I'm working with this, I actually do it by hand. So you can see at the moment, it's a little bit irregular, so just come here. A shifty, press they button. And get that gentle slope that you're looking for. So Shift click, press the S button. And there you go, now you can see that's looking pretty nice. Okay, finally, then, let's bring this up into place. So we're just going to put it into place like so. And then on the middle of this, there's actually a little chunky bit that comes out. So this bit here actually comes out before going to the bott. So let's actually replicate that now. So I'm going to grab this one, press E, enter terns. And we're going to pull it out now. If it comes out in a weird way, just press the S button, and then it'll come out in a proper way, but you can see, as well. That maybe it's bent up a little bit if you look there. The easiest way to deal with that, honestly, is just to come in. Alt Shift and click, S s and zero, zero it out, and then it'll be nice and flat. Do the same for the bomb as well. Alt Shift click. And then S said, zero, Enter, and there you go, it's nice and flat, and that's exactly what we're looking for. Now, let's come to the bomb, so we're going to press the I button. We're going to press E, and then we're going to press the S button to bring it in, like so. And I think yeah, that is looking pretty nice. Now, the next thing we need to do is we need to come in and do these parts on here. So what I'll do is I'll just come in. If we do them individually, there might actually be a problem of doing them individually. I'm just wondering the best way to do this. Let me just have a look if I bring in a edge loop, control, left click, right, click, and then Control left click, right, click. And then what we'll do is Alt Shift and click on both of these, so you can see I've gone grabbed all the way around and then press Control B, and we should be able to pull them out. Now you can see, it's messing around with the bomb. I'm just going to put that there and turn on clamp overlap on, and there we go. Now, is that going to be what I want? I'm not so sure at the moment. I'm not so sure. I think let's just go back a minute and let's see if we grab both of these, what I want to do is, you know what? I'll show you a better way of doing this, actually. So what we'll do is we'll just get rid of those, and I'll show you a real easy way. So if I come in and grab both of these, look like so, and then I press the eye button and bring them in, press I again to bring them in. So you can see now we've got them in like this. This is kind of what we want. Now, if we come in and click on this, press Control C and then press Enter and then come round to this side. Like so and round to this side, and then press the Ibn. Just bring it in a little bit, come back to your thickness, press Control V, press Enter, and now they're exactly the same size as the other ones. And now we can come in, grab all of these, press E, Enter, alters, and then just bring them out. If you don't want them coming out like that, you can press the S bone again. If that doesn't work, the easiest way is just to bring them out with the G key. So if I come in and put it on normal, and then I come in and make sure they're on individual origins, I can press G and X, for instance, or Z. Let's try Z. There we go. And then we can pull them out, like so. Just like that. And there we go. Alright, maybe, maybe I need to pull them out a little bit more. So, G and Zed? Pull them out. Alright, that's looking pretty nice. Now, the last thing is, I want to bevel these edges on here, so just these ones here. So I'm going to come in. I'm going to grab each of these edges like so, and then I'm going to press Control B and bevel them off. Like so. And there we go. I think that's looking pretty, pretty nice. Alright, let's take a step back. Have a look away from here, and that's looking pretty good. Now the last thing we need to do is bring in those little pieces that come down here and we'll do that on the next lesson. And don't forget, guys, after every lesson, save out your work, and I'll see you on the next one Everyone. Thanks a lot. Bye bye. 17. Finishing Touches and Preparing Materials for Texturing: Welcome back everyone to game Asicration fancy lights, and this is where we left the. Okay, so what we're going to do is we're going to grab now. I'm thinking probably this bottom part here, where we've got a cursor. Let's have a look. So we've got a cursor right in the middle. That should be actually okay. So let's come in, bring in a cube. Let's make our cube smaller. Like, so you know what? I'm actually thinking probably better off not actually using a cube. You know what? Let's come into the botm off here. If I use this, I should be able to get exactly the right piece that I want. So if I press shift D enter, pull it down a little bit. Put this back on Global. Press P selection, grab this part now. Press Control A or transform set origin to geometry, press the tabbun, grab the face, press the IB and bring it in, and that is what I want this little piece like so. So now if I come in and grab these, press Shift D, and then press E and pull it down like so, this is exactly what I wanted. So something like this, and now what I can do is I can actually come in, L, delete, vertices, and then get rid of those, and then I can grab all of these, pull them up into place, as you can see, and now we can actually play around with these. So first of all, we'll grab the backs of all of these, like so, and then we'll come in, pull this on normal, make sure on individual origins, press G and Z, and we can pull those in now like so, and there we go. That's looking pretty nice. Then what we can do now is we can pull them to where we need them. So I think at the moment, these are probably fine. What I'm looking for, maybe, maybe we want to make them a little bit chunkier. I'm just wondering if we should do that or not. Let's have a look first. Let's see if we can. It's all about playing around with these things as well, seeing what looks right. The first one I built. We had to go in and iterate on it a lot because it didn't quite look right. You know, we had curved horns on there and things like that, but it didn't look right. So now let's come in, turn this off, press G and Z, let's see if I can pull those in. Like so. And yeah, I think that looks better, like so. Now I'm going to do then is I'll come in. I'll press one. I'll press A to grab everything. And then what we'll do is we'll come in and bring in a bisect. I'll bring in a bisect. I'm going to cut it across here, so left click can drag. And then all you want to do is just make sure that this is set to zero like so. Alright, so now we've got this. Now we should be able to come in and either make these parts smaller or we should be able to come in and bend these parts in. So if I come in now and grab each of these ends, I should be able to come in and press G Z you know, Y, no X. Like so. Then all I need to do now is put it back on Global and pull them up and let's see. No, that's not going to work as you can see because they came in at different angles. So instead of doing that, let's leave it on Global and let's pull it up like so. I'm just wondering if this bit here as you can see, it needs a little bit of a bevel on there. I think I might come in and do that after, so I'm just going to pull them up to there. I'm going to look at what they look like. And then what I'm going to do is I'm just going to grab each of the bomb sections. And I'm going to press Control B and bevel them off. But I don't want some beveling off like that. Let me see if I can bevel them off the other way. Control A all transforms, Seragenteometry, and now let's see if we bevel these off. And then what we'll do is we'll press S, Z zero, enter to flat them out. And there we go, that's what I'm looking for. Now let's finally pull these down a little bit. And there we go. Yeah, that's exactly what I'm looking for. Now, I'm hoping that when I come and turn this into the metal parts, I'm hoping that these parts here will bevel off enough. I'm also wondering if I should do it by hand. So in other words, if I come in and grab each of these. Like, so and then press Control B and bells them off. And there we go. Yeah, I think I'll do it by hand. I think that looks much, much better than what it did. All right, so we've pretty much finished that part now. I'm just looking around making sure. I think if I press SaltaH now or question mark because we need to bring everything in, so press question mark. There we go. Let's delete this part out of the way, and let's actually have a look at our light now. And I'm thinking that it's probably a little bit too big on this end. So what I'm going to do is, I'm just going to grab probably this bit here. Let me just see if I can grab these as well. So if I press G, what's going to come along with it, all of these. I'm just going to press SSNs E and C or medium point. So let's go to medium point. Ens. Let's squish it down a little bit. I think now that's actually looking much, much tighter, and that is what I want, actually. So let's now pull it up. Into place, making sure these are there, and then the final bits are pulling these into place like so, and there we go. I think that looks way, way better now. And it's up to you if you want it even smaller, but I wouldn't mess around too much with the actual length. I'm happy with the length now. And what I can do now is, I'm just going to check. Do we have any modifiers on these at the moment? Yes, we have a modifier on here on these parts here. So let's hide those out of the way. I don't think we have any other modifiers on these apart from the smooth, of course. So what I'm going to do is just grab all this. Grab this part here, press the G bon just to make sure I've got everything. Press Control J, press Control A, or transformed, set origin geometry, right, click shade Autosmooth, and there we go. Now, let's see if we can turn it into this mol. So if I grab this one, press Control L, and then what we'll do is we'll copy modifiers, and let's see what that looks like. And there we go. I think that looks really, really nice now. Now, let's press ultage to bring back those little bolts. And the final thing is, let's pull them up a little bit because obviously, they're too low. And there we go, guys. That is looking pretty nice. Now, the one thing I would say is, as you can see on here, we've got a little issue with, you know, how flat these look. So what we can do there is if we come to this, we can come in and probably grab each of these. Let's just give it a try and see what it looks like. So right, click, mock chop. Yeah, and I think that's just going to look so much better, so we'll put in our shops just for this bit, just so it doesn't look too soft. Now, a lot of the time, the textures will do the work for us. So right, click, mock chop. And there we go. Now, the other thing is, do you want a sharp round here as well, 'cause you can certainly put one round here. And the other thing is on these ones, especially, you can see that we have an gon. And we don't really want engons. Sometimes you can use them, by all means, but when it's making an issue with the shading, it's better not to use them. What is an engon? An engon is a face with more than four sides. So we have quads, we have triangles with three sides, and then we have engons, which is anything more than four sides. It sometimes causes issues when we're animating or we shading, like you can see here. So generally, we try and steer clear of them. But if they're there and they're not causing any issues, it's no problem at all, because everything gets triangulated in game engines anyway. Okay, so now let's go to FaceLg first. Right click, and what we'll do is we'll triangulate faces, and then right click tries to quads. And there you go, now you can see it's looking much, much better. We haven't got those issues what we had before. Okay, that is that done then. So now we need to do is we need to do our backdrop. So let's quickly do that now. So all I'm going to do is just move my guy to the side. I'm going to press Shift A, and then we're going to bring in a plane. We want the plane right in the center, so let's press Shifts. Cursor to world origin. Let's do that properly. So shifts, cursor to world origin, shift A, and then let's bring in a plane. Let's press the S bone, like so. Let's bring it down, like so. And then all we're going to do now, let's make it a little bit wider, we will be able to see it when we come to our camera view. And then all we're going to do then is pull this back and then what we're going to do is pull it up, so E and Z, pull it up like so. Now, you want it to probably be a little bit closer to where we are. So let's pull it a little bit closer, like so. And then all you want to do is come to this corner here, press Control B and bevel it, and then turn up your bevels quie a lot because you want this to be nice and smooth. Like so. So it's going to be a backdrop right, click, Shade At Smooth and there we go. There is our actual backdrop now. Alright, so far so good. So we've pretty much got everything done on here. I'm just looking around making sure I've got everything. Now, the last thing we want to do before doing anything else then on the next lesson is if we come to material view, we can see all the materials are on there, except these parts here and this backdrop. So that's what we'll do on the next lesson. We'll have a good look at it. And from there, then we can start actually adding the materials on just to give Luke a actual reference because it's always a good idea to look at, you know, if someone's texturing it, what did you want to be wood? For instance, this part here or this part here, he might interpret that as metal. Now, we want that as wood, so we need to be very clear about that. So I'll show you how to do that so you can pass it down the pipeline. The other thing about that is when you split up into materials as well, is that in substance painter, you can actually have different objects within substance painter based on the material. So sometimes, if you've got a huge object and you've got different materials on it, you can split up the UV maps. So that's also important. Now for now, let's go and save, so file and save, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 18. Assign Realistic Materials and Prep Glass for Rendering: Welcome back, everyone to Game Asset creation fancy Lights, and this is where we left off. Now, let's put our guide to the side because we actually know how big this is now. Probably, probably we can actually maybe you want to get rid of him. Now, you can also, instead of doing that, just press M and make a new collection, and let's put a human reference there. So human reference like so. Then if we open this up, you will see that if I scroll down, we've got him in here, human reference, and then we can simply turn him off and turn him off on the render, as well. Or you can just turn him off on the render, so it's not going to appear in your render, but it will appear in your viewport. Next of all, we're going to do is just grab all of these. This last press Control L, and then what we're going to do is just link materials like so. Double tap the A, and let's now have a look. Again, before rendering or putting it on rendering your viewport, always make sure that you've saved out your work, and there you go, guys. That's what we've got so far. Within a few short hours, you can make a game asset. Like this for any dungeon scene, looking pretty stylized. Alright, really, really happy with how that looks. Now what I tend to do is I tend to make a double version of this, and that then will be Luke's guide. So what we do is we come in, put it back on object mode. And then what I'm going to do is just hide this out of the way because we're not going to need that. Grab this one, press Shift D. And then drag it over. And when Duke comes to it, by the way, he will basically be applying all of the modifiers, so we don't have to worry about that. Alright, so let's double tap the egg. Now we're going to do is put this on material mode. This is the material of moment. And now let's come into let's say this one here. We'll go to our material. And instead of ambient occlusion, we'll minus that off. We'll click new and we'll call it stone. So stone floor. Like so. And then what we'll do is we'll put this on a grayish color. Like so. Then we'll hide the other way, and then we'll put it on stone blocks. So we're going to minus this off. So minus it off, hopefully, if we can. Why is that not minusing off? I don't actually know. Let me have a look what's on there. There's nothing on there, so there's no reason why that shouldn't minus off. So instead instead of doing that, what we'll do is we'll put it on new and we'll call it stone bricks. Like so, and then we'll press the tab on, press A to grab everything, and click a sign. There we go. Now I'm hoping that we can minus that off. There we go. Now what we'll do is we'll put this on a different color. So if I press altH now, grab this part, let's make it a little bit darker to the one that we've got there. So a little tiny bit darker, as you can see. Now, we want all of these pretty much going all the way up to be the same color. Now, you could have let's have a look at our reference. We could have it where these pits, for instance, are different color, but would they really be like that? I don't think so. So I'm going to actually come in and grab all of these. I'm going to press G just to make sure I've got everything. You can see I'm missing all of these, I'm missing all of these. Now, if I press G, I've pretty much got everything there, and then I can simply press Shift and click, press Control L, and then what I can do is I can go to Link materials. Like so. Is it link materials? Look, Control L. Yes, it's Link materials like so. Alright, let's hide that out of the way. Now, let's come to our wood. So we're going to come to our wood. We're going to see if we can minus that off. No, we can't, so we'll click Plus new and we'll call this wood because it's all going to be the same wood anyway. And then what I'm going to do is now minus that off. Click my wood. I'm going to put it on a brownish color, so something like this, and there we go. And then we want this part to be wood, this part to be wood. Not all of it, though. There is some metal in here. So we'll grab this, this part and this part. And then what we'll do is press Control L link materials. Now, we're not going to hide it yet because we need some metal now. We have two different colours of metal generally in a build anyway, you'll have your light metal and your dark mel. That is what I like. I like these to be a little bit lighter, even though Luke has put them the same color. I think they should be a little bit lighter. So hopefully, I will tell him to make them lighter. We can also put a note on there, as well and do it that way, so he actually knows. And this is, again, feeding down the pipeline. This is how we should be working. Okay, then, so what we're going to do now is, we'll grab these. And then what we'll do is we'll come into these parts here. So all I'm going to do if I try and select it, I'll select everything. We don't want that. So Ali click Oil, Oh ****, click Control plus, whoops, and then press G, and you can see now we've got all of that part there. Let's click Plus then. And what we'll do is we'll call this light metal. So new Light metal like so. And then what we'll do is we'll put this onto a nice grayish color. We'll click a sign, and there we go. We can press tab now because we can see that. Put the metallic up because then you'll know it is actually metal. And then what we'll do is just turn this down just a slight bit, like so. And there we go. Now what we can do is we can hide this out the way, so hide it all out the way, and then we can come to these parts now. Now, these parts, the change should be a different color as well. So I'm just going to come in, and what I'm going to do is I'm just going to split these parts off, hopefully. So I'm going to split these parts off, so pet selection. And I'm also going to come in and make sure that split off. So we've got this part, this part and this part, and we're going to click it down, and we're going to have it on light metal, like so, and then we're going to press Control L and link materials like so, and there you go. Simple as that guys. Now, let's come in, and what we're going to do now is just hide these out of the way, hide them out the way. And then we'll come to these chains. Now, the chains. I'm going to grab them both. I'm going to put it plus Nu and we're going to call it chain. Like so. I actually think we have a chain material already. Chain material. There we go. So let's put it on there. Let's minus this off. There we go. Press Control L and link materials. Now, where did that chained material come from? It came from the jom genode. When you bring in a jom gen node, if it has materials on it, that is how it'll come in. Alright, so let's hide those out the way. Then we'll come to this one. And then what we'll do is we'll also come to these. So we want these to be probably a different color. So I'll just press tab L, L, L and L, press P. Selection, like so. And then what we can do now we can grab this, this, and then we can click the down arrow, and we want it on light metal. Press Control L, link materials, and then hide them out the way. And we should be left with something like this. Now, all of this pretty much should be dark metal except these parts in here. These are going to be my glass. So let's do those first. So if I come in, I should be able to select all of these parts going down, like so. Now, the one problem we will have on these is the fact that because they've got no edges on, they will all be one color. So in other words, in substance paint, it works by using the edge here. So you can see this edge on here. It will use that to actually determine where all of the, you know, dirt and things like that. At the moment, we're going around there, but we haven't got it coming through these parts here, and I think that's probably something we actually need to have. So I'm thinking I'm thinking basically to bring another edge loop in. So if I bring an edge loop in here, look, you can see I can bring it along there, right down to that part there, and that's probably what I'm going to do. So I'm just going to bring a new edge loop in and put it right under there. So we've got that just there, and then let's bring another edge loop in, bring it down, not there. So let's delete that one. Let's come back in here, Control low and bring it right up just before it gets in there, and then one in here, Control law and bring it jaws just under there, like so. And then, do we have one down here as well? So you can see this ends round about here. So this is going to be the glass, and now you can see that we've got these parts going all the way around. Now the next thing is, then if I come in and hide this, I should then be able to come in and just delete these parts out of the way. And the reason is because then you can see that the dirt will come hopefully down to this part of here or we pull these out a little bit. That might be the best thing to do. So we pull these out a little bit instead. Instead of having these parts in here, we actually pull them out and then it'll all be joined together. I think we'll actually do that, you know. So I think what we'll do is we'll hide these parts out the way. And we've got these parts here, and this part here it is. And then this part, this part, this part, this part, this part and this part. And then what I'm going to do is I'm going to press E, enter, alter and S, and pull those out. Now, of course, you can see that we do have a little bit of problem in that when I've pulled these out, you can see they don't actually go up to the sides. So let's come in, put it on normal, and let's put it on individual origins, and let's press S and Y. Is that the one? Yes, it is. I think. Let's see. Yeah, S and Y has done that. And there we go, that is now done. Now if I press tab, press Holth, I should be able to come back to here, this part here, hide it out the way. No, that's not going to work, so let's bring it back. Let's come in then, press Altag and there we go. These are the two parts that I want. Now if I press G, you can see this one's joined kind of weirdly. We don't really want that. So let's press L G. And can I actually grab this properly? So all I want to do is double tap the A, press L on here, and that's that part. So press and there we go. That's what I wanted. Press delete and faces, press Salt and there we go. Now, let's come in and grab these parts here like so. And once we've done this, we'll be cut in to the next lesson because that will be the final lesson for the modeling part. I'll show you how to put the glass in And we also want to make sure that this instead of, that'll do. I think that's going to look good. Like so. Now, the other thing is, we can see as well under here. I might need to pull this back a little bit because we can see under them. You know, if someone's looking from down here, maybe you'll be able to see in there. I'm not so sure, but we don't want that anyway. All right. Let's see if that'll work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 19. Adding Emissive Effects and Material Guidelines: Welcome back, everyone to Game Asset Creation, fancy Lights, and this is where we left you off. Okay, so what we want to do now is we want to come in and bring in the light material. So let's click Plus, let's click the new, let's call it Light. And let's bring in a nice orangy color, something like that, and let's click a sign. Now we want to do is we want to actually come on over, put it onto rendered view, and here we go, here's our light. Now, if we come down to the emission and turn this up, you will see as we turn it up, we start getting some light over here. We can also then come down and put it on a nice orange glow like so. Now, if I come over to my world and turn my sun intensity down, now you can see exactly what that's going to look like. And then it's up to you you're going to come turn this up a little bit more. Now, the thing is, the higher you turn this up, the more this color will, you know, go to white. That's what happens. But once we've actually got the substance pain texture in there, it will be absolutely fine. So again, it's just a reference guide to actually work with. Now, if I coming over, I'm just wondering, this is wood. This is stone. Now we just need our I'm just wondering about this metal, so we've got our metal on here. Let's come over back to our material, then. I'm just wondering, we've got our wood on there. Let's put it on material. There we go, let's save it out while we're here. And then what we'll do now is we'll go to our dark metal. So if I come up to here, what I want to do is I want to bring in a new one instead of this. And we don't actually have a dark metal yet. So what we're gonna do is we're just going to click the plus new dark metal. And for now, we're just going to press enter like so. And the problem we've got now is we're going to actually have a issue. If I come in, actually, I'll hide those out the way. And then what I can do is I can do it that way, actually. So I'll click a sign, like so, and then I'll press Tab, then I minus this one off, and then finally I'll come to my dark metal and put it on a lot darker, turn up the metallic like so. Maybe that's a little bit too dark, so let's drop it back jaws to tad, like so. And there we go. I think that looks much, much better. So now we've got a clear we got a clear distinction. So, a clear distinction between, you know, the chain, the lighter metal, and things like that. So there we go. Now we want the same thing on this part here, so I'm going to grab this part, this part and this part, grab this part, press Control L. And what I'm going to do is link materials, and you can see on here. We need to minus off the light, and we're not doing that. So what we're going to do is we're just going to click a sin, and then we're going to minus off the light, hopefully. So let's minus off that light. There we go. And then let's do the same on here. So A, a sign, tab, minus off light, and then the same on here. So A, sign minus off the light, and there we go. All right. That is pretty much done. So now we can write a little message for Luke, as well. So we can go Shift D, and we can come down and we can see we've got one that says text. And there we go. Here's our text. And then we can rotate it round. So RX 90, like so. And then to actually edit your text, all you need to do is just press tab and then backspace, and then we'll put Luke Please use two types. In fact, we'll please use three types. So three types of metal, like so, and then enter. So chain bolts name. And then he should understand what I mean by that, like so, and now he can actually press the Span, and we can bring it down. And then what I can do is I can put this just behind you so he can actually see that. When he comes in, you will be able to read that. And this goes for anyone, you know, who's you know, we're passing it down the line. Anyone who's building anything and things like that. Okay, so that's that part of the actual course done. So this is the modeling section, showing you how to get your lighting in, you know, building everything out, showing you all the little techniques that you might not be aware of. And now the next part of it, we'll be actually going in, UV unwrapping, applying those modifiers, and that'll be actually a solid part of the course, because it's very important that you get that right before taking it through to substance painter. Then the next part of the course will be painting it all, texturing it all in substance painter, which is amazing nowadays because you can actually get substance painter with photoshop. So that's really, really great news. And what we're going to do then is now save it. So I'll say that I'll work, and I'll see you after Luke's part, everyone. Thanks a lot. Bye bye. 20. Optimize Mesh and Prepare for UV Unwrapping: Hello. Hello and welcome back everyone to Game Asset Creation, Fantasy Lights. My name is Luke, and I will be taking off this section of the course. So this is what Neil sent it off to me, and we have ourselves a nice little lamp setup. First thing that I like to do is grab the entire asset by just making a selection from the top down, like so, to make sure that the entire selection is done. Then I'm going to hold Shift and just select Eva one of the assets to make sure that we do have an active selection. Otherwise, when we go to Edit mode, nothing is going to work quite as well. And then the next thing I'd like to do is just simply click Shift and H to make sure, sorry, not shift and he AltnH. I always mix these two up. One hides, another one unhids. So AltnH will make sure that we unhide everything in edit mode, meaning that whenever we are working with UV and wrapping, none of the items are hidden. If I was to have, for example, this part hidden, so we go to object mode, it seems like it's fine. But then when we are in edit mode and we start doing some of the UVN wrapping, that part would still be hidden and they wouldn't inherit any of the unwrapping data. So it's quite important to use Old and H to make sure that everything is fully visible for us, including this part over here, like so, so what do we have here? Well, we have a nice little preview of an entire mesh with all different types of metallic values. And if we look at the modifiers, this entire mesh has multiple modifiers set up in the scene. To make sure that when we are texturing within substance banner, it is important that we have only one material to be used throughout the asset. Otherwise, it's going to be creating unique UV textures for each one of the materials. So what we're going to do first is we're going to make a duplicate out of this lantern like so, and just move it off to the side. Then the next part will be to go on to the material stab and just simply remove all the material data. So what Neil did was helping me basically to establish what is going to be where. So which section is going to be stone, which section is going to be metal and whatnot. But we need to make sure that we are preparing it for substance manner. And for that reason, we're going to start off by selecting well, the bottom piece of an object. We're going to click on a minus, click on a plus symbol, and this one we can call this a lantern. Like, so this way is going to give us a nice, simple shader with a nice little material. I'm going to make it just a little bit lower in brightness because I think it's a little bit too bright, otherwise for my screen, at least. Anyway, once we have this done, we're going to hold shift, make sure that this is selected. So we're going to click Control and L, and we have a nice little option called Link materials. Clicking on this, we're able to essentially remove any of the material or replace it from all of these assets, except for some of the parts. So those parts that did not get replaced are using multiple materials. So we just need to simply locate it. So for example, over here, it has light material, light metal and it had a wood, I believe. We can just simply select the light metal and just remove it so we can find all of these metallic surfaces and just remove it just like that. And just to make sure that it is entirely set out of one material, what I like to do sometimes is just turn this entire piece to red. That way, I can see that, hey, we have an entire setup. It's just one material. Nothing else is standing out, so that's pretty good for us. We can go back to default color. It doesn't matter for us. Then next up is going to be preparing the mesh for a UVA wrapping, meaning that some of these parts, for example, in here, if I was to click I diagonal button to isolate entire view, we can see that we have some mesh items inside of this although they're not going to be visible. So in order to make sure that we are using the most out of our material, out of our texture, we need to make sure that the pass that we're not exactly using, they're not going to be textured. For example, this piece at the bottom, we could technically remove it. Because we're never going to go underneath it. But the thing is, though, we could remove it, but it's going to give us some complication. And by complication, I mean, with the modifiers. Right now, because everything is set up like this, we have bevels, we have displacement and all, and it works quite nice and well. If I was to, for example, remove this piece over here, let's say we are removing this entire piece. Just as a quick example, you'll notice that now we have the bottom piece without this bevel over here. So those kind of small tweaks like that will be affecting our setup, and we need to always consider whether or not the modifier is going to behave differently when we are cleaning up the mesh. So in this case, I would say that, yes, it is affecting the mesh in a way that we don't like the bottom part, not giving us those nice little bevels, which when we place it on the platform, they're going to be quite helpful to get a bit of an extra breakage from the base itself. So, let's go ahead and set ourselves up. So what we can do is go on to object mode, click Convert and convert to mesh. This will apply all the modifiers, like so the downside, though, is that now we have all the additional geometry for us to worry about. But it's not quite as hard to set ourselves up with that additional geometry. All we need to do is think about how to make a best use out of selection. In this case, we can click one to go to the side down view. We can click lz to go to Transparency WiframeVew make sure that our selection now is going to be complete selection that goes through the entire mesh. We're going to make use out of pay selection, and we're going to just drag ourselves a box across, making sure that only the base is selected. For example, over here, the part was quite low. I'm going to hold Control and deselected, and we should have something like this. I'm going to go ahead and just click O Z to make it more visible, and we got ourselves something like this. Now I realize that this part over here is still a little bit too much. It's a little bit too high up. We could either make additional selection or we can even be a little bit more sneaky. I think we're going to be a little bit more sneaky with this one. Instead of trying to select entire base and then working from there, what we're going to do is we're going to select the centerpiece of each one of the styles because looking at this mesh, I realized that each one of them have the same density of well mesh faces. So I'm going to double click A. I'm going to click C, which gives us a nice little, what's it called circle select? So that's what we're going to be using. This is a nice little shortcut. We can use left mouse button when we click C, and we can use sorry, middle Mouse button to make the selection. If you want to escape, if you want to leave this mode, you can click Escape, and that's going to take off that selection, like so, and then you can use Middle Mouse button to rotate around the mesh. So, with this, what I like to do is I like to just simply make some selection like that. So all the squares in the middle are going to be selected. So we're going to get ourselves this type of selection, which is pretty nice. Now we can click Control plus and make a selection like that, giving us the entire base selected just like soap. So no hassle, no fluff. We're able to make a selection like that. Now we can go ahead and hit delete, and there we go. We've deleted the entire base. Now, if we look at it from the side or the top, it's not going to make much of a difference, but it's going to save us so much texture density that is going to be really worth doing. So next up, we have this over here. Let's have a look if we're able to delete some of the parts without actually, well, removing the modifier because it would save us a little bit of time. What I'm going to do is I'm going to just select the pass on the inside, like so just like that. Nice little selection of the inner circle. I'm going to click C, and I'm going to just tap on the base as well. I think I will avoid dragging it because I don't want the *** in the middle maybe to be selected, but it seems to be quite right. Okay, now that we have a selection like this, we can go out of the edit mode, just go out of the isolation mode and just double check. So here, there is no bevels on the side. At the bottom, perhaps this part of here might be affected. These parts over here are affected. So if we were to delete it, we would also mess this up as well. So that's that. The displacement is misbehaving because of the multiple resolution. So we do need to basically do the same thing as we did before, which is going to be well, let's click Control Z to make sure we get those pass underneath. The entire selection we still have. We are going to go back onto object mode. With this selection, we're going to click Object, convert to mesh, like so, and we are going to now get this, which is right. It has some subdivision. We can click Control plus. It's going to expand our selection. We might want to get these pieces out as well. I think that's what we're going to do. So for us to do that, what we can do is we can click Control plus again, which is going to grab these bevels over here. But now this entire selection is now connected, meaning that when we click Control minus, it's going to take off the selection from here, but not from here because this is now one whole selection. So we basically expanded until these two separate connections were connected, and we shrink down using Control minus again. Now we can remove the faces and we get this little setup over here. And I'm wondering if it's worth for us to remove the parts on the inside. But I think I'm going to keep it just in case some gaps are visible, especially with the displacement. I wouldn't want them to be visible. So I think that's as far as I'm going to go with the setup. We don't need to be super optimized with this particular prop because, well, we can just have a medium type of optimization. When we're working with specific environments, we really need to consider what type of final result we're trying to get, what kind of optimization we're trying to push for. So in this particular case, we can be a little bit more lenient towards it. So I think that's a good little progress. We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 21. Advanced Geometry Cleanup for UV Efficiency: Hello and welcome back everyone to game Asset creation Fantasy Lights. In the last lesson, we left a little bit with the bottom piece optimized a little bit. And we also optimized this part over here. We left the vats on the inside just to make sure we don't get any light bleed or anything of the sort, being able to see through these gaps. Just to play it safe. We're now going to move on to this little chunk over here. Let's see what's going on with this one. So they are normal squares. Like, so all is good. I'm wondering if we need to do a lot of optimization with this non usable setup. We can't really optimize much. So right away, we're just going to go ahead and convert this to a mesh. Like so now we have a nice little setup. So we can go ahead and delete the part from the middle base. I am going to go ahead and double check. Yep, it's going to be quite right to delete that part. Like, so. Let's just go ahead and have a look real quick. Ha. So these red parts are visible, as you can see, meaning that the gaps that we have can be problematic potentially. To make sure that we well, don't have any issues whatsoever, we're going to go ahead and hold Alt, make a selection like this, which gives us an entire selection. So holding Alt and lap Mouse button gives us an edge loop selection. We're then going to go out of the isolation mode. And with that selection, we're going to click GST and just lower it just a little bit until we place it right at the As. If you don't like the steepness at this point anymore, you can go ahead and just also scale this down a little bit, so clicking S, just kind of scale it inwards again, just to make sure that the steepness that we had previously is still being kept the same. So that's looking quite nice. It's looking lovely. I don't think I'm going to I'm going to actually click Shift and H. And yeah, we'll remove these parts over here. Or let me just have a look. So here I might not even worry about removing it the inside part. This part over here would give us a hole in UV checker in the UV chunk, meaning that, yes, we could potentially fit in some of the smaller parts inside of this hole. But if you're using a simple UV packing system, then in these cases, those holes would end up being left as is. So I don't think it's large enough of an issue for us to worry about so looking at this, I made a selection issue, which caused me to delete a small chunk of this section over here. And I think I will show you using this method, how to fix up the mesh real quick. It's actually quite easy, quite simple to do. Once we have an issue like this, we can go ahead and fix it easily. That's not a problem. Let's just make sure we click Alt and H when in edit mode to make sure that there are no hidden messes that there is this hole over here. And now with this selection, I'm going to click F, and I'm going to click L and shift and So we have ourselves this selection with the filled hole. This fill up is just an end goon, so we're going to go ahead and fix this. We're going to select two vertices on the up hand. An both end, we're going to click J, and that's going to join it up nicely, and we're going to repeat this process throughout all of these vertices. So, we're going to select the upper vertices going not diagonally, but sorry, not horizontally, but diagonally or vertically. And we're going to just repeat the process. When we are joining two different vertices and it is crossing certain lines, it is going to create new vertices in between them. So that's quite handy. And now we got ourselves this result back. So that's quite all right. All right. I'm going to go ahead and select these little bricks or the biggest bricks actually out of all of these, so I wouldn't be able to call them little, but let's go ahead and click Shift and Let's go ahead and select the side view, so clicking one, and I'm going to double tap A, click Olds and now we are going to make a selection for the very base, so we're going to make selection that includes the bevel parts. Now we can click Control one to lower that selection, and we can delete the base just like that. So Old and we're going to have ourselves this nice little setup. Um, let's have a look. I think we're going to leave the top as is, although we could potentially remove these parts over here. So I am considering it. But it's not going to save up too much of our UV size, not to that extreme as we did with deleting the base, because that would be an entire new chunk. This one is going to give us an L shape if we were to delete that little part, so it's not going to save that much of our well, V density. So we're going to leave it as is and now continue on with this next part, which is going to be this slab over here. We're going to hit shift in H and delete the base. So double tap A, double tap A and select this part, delete phases or actually, why are we doing that? We need to delete even more, just like that. We're going to double check that there is no gaps in between. So there might be a bit of a gap over here. This gap is actually quite all right. It's quite all right. There's no way camera would be able to pick that up about this gap. This gap is also fine. I think it's quite right. Okay. Let's go ahead and finalize the bottom breaks by just selecting these parts over here, clicking Shift H, and just deleting, deleting these parts. So let's select this over here, selecting it like this, growing selection, and deleting it. So a little bit of a tedious process, but honestly, once you get a good hang of it, it is so worth it to do it. Next up, we're going to continue on optimization setup a little bit with this little part over here. So let's go ahead and just convert it to a mesh and see what we can do about it. Well, we can just isolate it. We can delete the bottom faces like we did previously. So make a selection at the base, delete it just like that, and double check that there's no gaps coming out. And I already see that there might be a little bit of a gap, a little bit over here, perhaps, maybe not. Maybe it's going to be quite okay. I think that's right. Let's continue on with this setup. So bricks. What do you do about these bricks? Well, we can have a look at how they're built. And I would say just remove the bottom is going to be more than enough on a middle section, I'm looking whether or not we have any visibility of the vases going on the inside. And I don't think we do have anything like that. So what we're going to do is we're going to click seven. We're going to make a selection using old Z to make sure we see all of the bases see through, and then we're going to make a selection like this. This way, this entire selection is made going all the way across like this. And now with this selection, we're going to go on the object mode and convert this piece to a mash. That way, we have a nice little selection going all the way through these entire brick sections. We can click Control plus to grow the selection so that we have these brick parts going all the way across, like so, and we can just simply delete the vases. Oh, except. Let me just double check real quick out of isolation mode. If we need to keep the bottom at the top, no, we don't. We can just go ahead and delete it. That way, our bricks are a little bit more optimized. So we might need to delete these parts over here as well. I think that's what I'm going to do, actually. Going to make a little bit of a larger selection. So the inside is hollow and we have ourselves very nice little brick section, just like that. So we are running out of time. We're going to continue on with this rest of optimization and next lesson. Thank you so much for watching, and I will be seeing you in a bit. 22. Advanced Mesh Cleanup with Selection and Bevel Control: Hello Lon, welcome back, everyone to Game asset creation fantasy Lights. In the last lesson, we'll left ourselves off with a more optimized brick type of setup, which is giving us a very nice tunnel type of setup without any of the interfaces for this section. We're now going to continue on moving upwards. And to make it easier for ourselves, what we're going to do is we're going to select everything that's underneath, like so, except for this sign, of course. So let's go ahead and select bottom items that we already basically optimize in terms of the mesh. We can click H to hide it out of the way and continue on with the rest of the mesh. So we don't have too many pieces left. I believe these are well, part of the same item. So I'm just going to check what's underneath. Okay. So this is separate, and this is also going to be like that. I'm going to click Alter nature real quick just to see if there is a gap. Alright, so let's go ahead and simply select both of these pieces at once. We can do them multiple at once. We can go ahead and convert this to a mesh, like so. Now we have a mesh like this. And I am going to go ahead and just select the pieces in the middle, I believe. Although, let me just have a look. We do have some gaps over here. They're quite thick. I think let's go ahead and leave it as it is. But looking at this, we might need to if I was to click normal. Oh, this is combined. That's good. And this is also combined. I'm clicking L right now because it allows me to select linked, and if I was to use the limiter, which can be found at the bottom left corner, if we use the delimiter set to normal, this means that everything all the faces connected would basically be selected. So by clicking L, and having this delimiter allows us to see what kind of mesh is part of it. So for example, if I was to click L, I can see that this mesh part is separate from this mesh part. So that's quite useful to know. And let's see if we can find a faster way to optimize this little piece. I think if I click Alt Z, we can see that they do have some faces in the middle. I'm going to go into front mode by clicking one, lz, and then I'm going to select just the parts in the middle, like so. Let's make sure we don't select holding Control. We're going to select this part. So we only having the parts that are in the middle and as well as the bevel phases. And now we can click Control minus to remove it. We have a selection that's in the middle for every single one of those pillars. Just going to double check that the selection is correct, which seems to be, then we can just delete the phases. As for this part, I believe they have some parts inside. So we can click Shift and He to hide everything out. Keep in mind that in edit mode and in object mode, they are separate, so they're separate hidden modes, meaning that if I was to click AltnHe whilst in edit mode, it's just going to unhide everything just for this part. So that's quite useful to know. Ev away, we're going to do well, quick selection over here. So using a C left mouse button, then we can also click Escape or right mouse button actually to cancel the circle selection. Then we're going to click Control plus, and I believe we can delete these faces. I'm going to click Alter nature real quick just to check. Yep, going to click Control Z and delete these faces. So I think that's going to be it for this part. Now we can just move on to these sections over here. I'm going to go into isolation mode and just turn this into a mesh, actually, first. It's going to be a bit better. There we go. Actually, sorry, let's go ahead and click Control ed and select both of these parts on the inside going to make our lives a little bit easier. When we go on to converting the mesh, then we can go into Edit mode. We still have that selection, but now it's with the modifier supply, we can simply click Control plus and delete pass just like that. All right, we can go out of the isolation mode now. And I believe, so this is finished. We can click H to hide it. This is going to be as well optimized as it can be, although let me just have a look. We could potentially remove the edge loops over here and whatnot, but it does actually contribute with the overall setup, making sure that some other parts are bumping out or whatnot. So we're going to leave that in to make, like, well, the stone look a little bit more unique. This part we already optimized. Let's click H and we can even move onto the sign. Or onto this part. And I think this is not going to be much. I'm going to click the nature real quick just to see. Yep, everything is nicely packed up except for this part. I'm wondering if this part should be a little bit closer. But I think it's going to be okay if we leave it. This is up to you. If you do decide to leave a gap for this, you might want to leave this part over here, the space to be, well, not deleted. And the rest is ticking inside. Okay, so that's good. Let's click Control Z to make sure we're going back to what's hidden and whatnot. And well, let's go into all of these. I'm going to now select it, convert it to a mesh, and just simply delete some of those faces. Although these phase is going to be separate, let's go ahead and just delete these at the back. As I said previously, this one is not touching it, so let me just make sure that selection is properly set, then delete phases like this. Although this little phase can be selected from the inside, if you're not able to select a phase like this, I'm just using Olds and using what's it called the iframe mode. I know that this square at the bottom is the largest one, so I'm just finding the dot that helps me get the large at square. But if you're not able to do that, you can simply just select it, hit Shift and H, and just do a selection like this. Then alter nH and see what is being used. He way. Let's just select the face at the bottom, delete the face. And I think we can delete the one at the top as well or two of the parts at the top. Yep, that will do the trick. This part is quite inside. So I'm going to go ahead and click Control plus. Make sure that the selection is, well, more like this. We can see it from the inside. Let's go ahead and delete it. And now we have ourselves a little bit more of an optimized piece. This part over here will definitely need to have some parts deleted. So I'm going to go ahead and actually, I'm going to select this entire piece, hit Shift H, and then just make a squared selection, click Control plus, and delete this part. As well as select here, CtroPlus delete this part as well. There we go. Alright, I think that is as much as we can optimize, except for this part, perhaps. Going to click Control H real quick, just to see if it is inside, yes, it is. The top is also inside, so that's good. So now we can go click Control Z to make sure that we're getting back those hidden items. So I want to be out of the way, but looking at it, I don't think we can optimize it anymore unless we can remove this part. It still has everything with displacements and whatnot. So that might cause us an issue. So I'm going to real quick, convert this to a mesh. Have the selection like so, Control plus, and we can go ahead and delete it. Just like that. Now we can hide this out of the way. The top is already deleted for us for this one. I just want these parts over here to be also deleted, just like that. And I'm going to click Alt and H real quick just to see. No with issues, nothing like that. That's good. So now we can continue on with just hiding these parts out of the way, this part out of the way. And a ha, we have some of these bolts. I am going to check real quick if I can delete one of the face at the back without causing any issues. And I think I think it's okay, actually, Upgrade click Alterng real quick. So these bevels are going inside. So I don't really care about the bevels not being there. It's actually going to be quite alright. That means that we can basically select these parts like so and just delete it without worrying that bevel or displacement modifiers are going to affect the shape. Because even if it does affect the shape, it's on the inside parts, and that doesn't change the overall, well, aesthetics of the form. So that's good for us. All right. Let's go ahead and hide these bolts out of the way. And we are left with the two main parts, the lantern and the sign. We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. H. 23. Optimizing Lanterns and Signs for UV and Performance: Hello. Welcome back over to Game Asset creation Fantasy Lights. In the last lesson, we left ourselves off with, well, just a sign and the lantern left. Let's go ahead and have a quick look about overall setup and what's needed to be well added or adjusted in terms of the mesh. We're going to quickly have a look at all of these little pieces, see if, for example, we can remove some of the parts. So like this would over here, we can definitely have a look into it. I'm going to isolate the entire view, and I'm going to select the bottom pieces. Like, so. And actually, looking at this, we're going to make it a little bit of a smarter choice with the selection. We're going to click one. We're going to go on to control sorry, old Z to go into the wireframe mode, and we are going to make use out of the Select Lasso. Select Lasso will allow us to make a quick selection going all the way around these dots that are in the middle like O. And this should be a nice selection for us, just like that. Going to hold Shift and do a selection over this dot as well at the bottom right hand corner. And now we have a selection like this, meaning that if we were to click Control and I to invert it, we get all of the parts around it. And the reason we did that is because if we go onto object mode, we see that none of these parts around it actually need to be there. So by just simply removing all of these paces like, we get ourselves a very, very nice type of a setup. Although sorry about that, let's go ahead and click Control Z. The reason being is that, well, this needs to be applied with Convert mesh. Go. Now we can click Control plus and expand our selection a little bit. I think that's quite all right. Let's go ahead and well, double check real quick if these edges on the side. Yeah, these edges on the side need to be these bevels over here. So I'm going to click Control minus. There we go. Now only the inside parts are going to be deleted just like that. And that is going to be good for us. Let's go ahead and delete this. Sorry, not delete this, hide it out of the way using H. And we can probably yeah, we can definitely have a selection at the back like this, go on to object mode, convert this to mesh, and now we can just Oh, selection was lost. That's right. We can just go ahead and delete this. So I see that these bolts also have an issue with the faces. So let's go ahead and let it, and we're going to have ourselves nice little bolts. I'm just going to actually double check real quick. Yeah. They are this junky and thick. That's fair enough. All right. So we have all the back faces for bulks and this removed. We can just hide them out of the way. This, I don't think we can remove anything outside of just the stop section over here. I'm checking the modifier that there is no modifier over here, so I can just go ahead and be really removing this. And oh, there are some pass over here. As well remove it. There we go. And this is going to be quite okay. Next, we have this part. This part over here is going to be okay as is. There is no need to remove any of the faces. It's going to be quite all right. These bolts already have the back faces removed. And the chains, honestly, there's not much we can do about it other than maybe remove the bottom faces, the bottom piece over here from here because, well, they're going to be inside of this pole, but we can keep it as is. Honestly, it's going to be quite right. This part over here, we're going to definitely remove the upper section, like so, and hide it out of the way. This chain, we don't need to do anything about it. We can hide it out of the way. And this part, I would like to see if we have some ways of optimizing the mesh a little bit. So over here for the volts, let's go ahead and isolate it and just remove all of these phases on the inside. Nice little optimization. So not only are we able to optimize the texture density to make sure we're getting high resolution, by doing this, we're going to be able to also unwrap these meshes faster because there's not going to be any back faces for these meshes. We're going to be able to do a couple of quick little tricks to unwrap some of those parts. So that's that I am wondering if this part over here has yep, it does have pass in the back. So I'm going to while in edit mode, I'm going to select these parts like so, hit hit and H and select the little pieces on the inside. Like so and it shouldn't change any of the mesh, hopefully. I think it's still the same. It's quite right. And the rest, we can leave it as it is. I think that's going to be quite right. So that's pretty much it. We can hit ldnge to hide everything. We got ourselves a nicely cleaned up little mesh with all of the parts still being pretty much exactly the same as the original item. So that's good for us. I am just double checking if there are any gaps or any perhaps selections made by accident whilst we were doing this type of procedure, making sure that none of the pieces are shown up with the face orientation. So if we see any red, it would mean that we are able to see on the inside of some mesh, like underneath, for example, red. So I see from a distance, for example, this part over here. That's slightly visible. So in this part, Neil might have missed a little bit of the gap, but that's right. We can just go ahead and just scale this down. So I held Alt, made edge loop selection, and just scale this inwards, just like so, making sure that it goes inwards and we are not seeing any gaps. So sometimes, you know, it can happen with some parts being missed out. But before we do any of the UVA wrapping or anything, it's really important to have a look, have a check because otherwise, if you go back and forth, it can get quite tedious afterwards. Now that mesh is clean and we are ready to take it on with the UVA wrapping. We're going to move on with that in the next lesson. So thank you so much for watching and I will be seeing you in a bit. 24. Clean UV Layouts with Smart Unwrap and Seam Control: Hello, welcome back everyone to Game Asset creation Fantasy Lights. In last lesson, we finalized ourselves with a little bit of optimization for, well, this entire little piece. We're now going to continue on moving forward and start by preparing it for texturing phase with UV editing. So let's go ahead and do that. We're going to go onto the tab on the upper section like so and find ourselves back onto this little setup. Next step is we're going to select an entire object and simply do a quick UV and wrap. So with this selection, I'm also going to make sure we click AltnH just to make sure everything is unhidden. Selecting an entire object going on the edit mode by hitting Tab, selecting the entire piece, and unwrapping everything with SmartTV project. The reason that I like to start doing this with my mesh as a basis is because that way it will at least break down the entire mesh into reasonable UV islands into chunks. Some cases, we might be able to make even use out of that. But for now, all we need to know is that by going on to Smart UV project, we get ourselves the base setup of UV and wrap. So for angle, we can go ahead and drag it up to an angle limit of 80 because it has so much organic shapes with the stone being so smooth around corners and whatnot. We want to make sure that we keep as many UV islands together as possible without getting some unusual warping and whatnot. So 80 degrees is still going to give us this type of result. And it's already looking quite nice. The next step is going to be sorting out, well, what we see, how we visualize the setup. So real quick, we're going to go on the shading tab. With the lantern still selected, we're going to have ourselves lantern material. And what I like to do is to use a checker pattern just to kind of visualize what we're dealing with. So in here, we can even use something called checker texture over here. If we were to select it, it's going to give us a very nice basic type of setup for a checkerboard. The other option that I like to use. Well, let's go on to material preview to actually visualize how it's looking like, so it's looking like this. The next thing that I'd like to do is simply grab a variation of this checkerboard. And for us to do that, we would have to go ahead and get ourselves an image texture first through this image texture. Licking on new, we can find ourselves this type of setup, and the generated type, if we were to change to a coal grid, we are going to get ourselves a nice little image. So if we were to attach this onto the base color, we get this type of UV setup, which is way better than the original UV checker because we're able to determine the orientation of the UVs based on the position of the letters, as well as how um how the U how UV islands interact with one another. So, for example, this UV island is going to be different than this UV Island. And so that's quite important to know. Now, having this opened up, we see that there are a lot of issues. And what would those issues be? Well, for starters, these UVs are going all with. So let's go on TV Island and start fixing everything up. I'm going to just preview the material mode. So when we were in the edit mode, we had some hidden mesh. So previously, I mentioned the importance of hiding the mesh. Let's make sure we click Old and He when we are in edit mode, and now Vnwrap everything again and see if there's any other issues. And for us to see our issues, we are going to actually just upscale all the UVs islands. So on the left hand side, when we are in UV editing, we should be able to just click A with the mouse hovering over on the left side and just scale everything up like this. That way we get a little bit more of understanding on what's going on with the rest of the items. Thing that could potentially affect our setup would be stuff like modifiers. The modifiers could have unique additional to the setup, meaning that if we are in editor mode, we can see that this lantern, for example, does not have any bevels, but when we go out onto the object mode with the bevels enabled for the modifier, we will see that the UVs, well, they slightly warp in certain areas. If it's a small pebble, it's going to be quite okay. But if you start getting into larger bevel areas with more segments, then it starts becoming a problem. But over here, I would say that it's quite alright. So the overall setup is quite okay, even though at this point, we can at, say, select entire mesh and just convert it to a mesh. So that way, we don't have any unexpected issues with, like, flip normals or some vertices overlapping with one another. We're going to have an entire mesh perfectly set up. And that also fixes another issue, which we had previously, potential the other issue being that maybe some of the transformation was a different scale. If you click N on our Viewport, we see the transformation option. So when we clicked Object Convert to mesh, we also fix this scaling. This scaling is going to be based on an object type. So right now we are in object mode. If I was to use S Y, for example, and scale this down, it's going to start scaling this down like so, meaning that when we are unwrapping the UVs, those UVs are going to be squished. So these UV wraps are using the original data when the scale is set to 111. So just by converting everything with a mesh, like, so we get ourselves a very, very nice type of an outcome that's not going to give us any unexpected surprises. So next up, what can we do? Well, we can start working bit by bit on this whole setup. Oh, first things first, let's have a look if we can change up this a little bit because I see that these UVs are, well, not quite as good as I want it to be. I'm going to go on Edit mode and see what's up. So because they're so chunky, I might do Quick Smart UV project with a larger angle limit going all the way to 189, and we can just unwrap it like so, and that's going to give us more of a reasonable type of an outcome like so. Some bits at the bottom might be still separate. For example, over here, but I think I'm okay leaving them as is. I think it's going to be quite reasonable, like so. We don't need to overcomplicate it as long as we have some reasonably large chunks, we are going to be fine. So we can just go ahead, select this, hide it out of the way, so we can just go and move on to another piece. Next up is going to be these brick patterns over here. Looking at the islands. I think we can leave them as is. Oh, no. Ah, we found some interesting results. I think, because of the displacement, they were considering the angle threshold, and they decided to be like, Hey, this is not going to be right. So this is definitely needs to be fixing. We're still going to use Smart TV projection with a larger angle limit. Let's see if that fixes it. And it fixes it, but not in the right way. What's going on here? I think because the angle is so smooth, we're getting this island over here. I was to click L with UVs. So this time we're going to start using L with a delimiter set of UVs. That way, we can visualize the islands a little better and see that this is not how it's supposed to be. Unwrap is trying to get this entire piece as one angle. We don't want this to happen. So we're going to do SmartTV unwrap again with angle slowly lowering it until we start seeing these angles being broken up. So let's continue on with this process. And I think this is the point where we are going to do a little bit of an extra work. Not too much, though. It's going to be quite simple, actually. We're just going to be a little sneaky with our selection. So since we have so many, well, so much topology, reasonably reasonably large amount of topology for such a blocky setup, we are going to make use out of a specific well, selection control. So let's go ahead and select this little piece. Let's go to isolation mode. And now by going to the front view, we can click free. We can click Old set and select only the upper section with this upper section selected. We can go ahead and go on to selection mode over here and select what's it called Select Loops select Boundary loops. This will give us a nice edge selection going all the way around. I'm not sure if it's visible but basically these pieces over here all the way around, so we can now go ahead and mark Seam. And by doing this, the entire upper section is going to be nicely placed for us. So that's quite nice. We can go ahead and do a quick selection. So by clicking L and using select Linked UVs, we can just grab all of this top section. So and with this selection, we can simply do unwrapping. This time we're going to do unwrapping to just conformal. Works quite well. Nice, little setup. Like, so we can hide this out of the way while it's in edit mode. So now we're left with this type of mesh, and we are going to continue on with this mesh. So what else can we do? Well, let's have a look. We can break down these parts over here, and I think that's going to be it, actually. We don't need to overcomplicate ourselves. I noticed an extra piece flying in here. So let's go ahead and click Control Z real quick and see what's this extra piece. Did I make a selection. I did not make selection, so real quick, I'm going to make a selection over here, so click H and just see if there are any other loading pieces, doesn't seem to be. So now with this entire piece selected, I'm going to unwrap it again. Just to make sure that there's no floating pieces. Now, going back to this, we're going to click seven. We are going to click Old Z, and we're going to select everything on the inside, like so. With this type of selection, let's make sure that all the faces go up to the edges, which they seem to be. So that is a nice selection. We can go ahead and just basically repeat the same process. Go to select loops, boundary loops, and it should give us a nice edge loop over on the side. It seems like it does. You can then right click Mark SM and then A, unwrap and unwrap conformal. And it's going to give us this type of an outcome, which is pretty good. So now we can click AltnH. We have all of them. We don't need to worry about them overlapping or anything in regards to the replacement. We're going to sort all of that later. For now, we're just making sure that all the UV shells have a certain well, UV unwrapping type of set just a nice clean islands. So that's going to be that for the base. We can go out of isolation mode, and we are running out of time. So we're going to continue on with this in the next lesson. I'm going to hide this bottom piece. So yeah, thank you so much for watching and I will be seeing you in a bit. 25. UV Packing and Unwrapping Decorative Geometry: Hello, and welcome back everyone to game asset creation, fantasy lights. In the last lesson, we left ourselves off with the platform being unwrapped. We're going to continue on with this process and start off with this little chunk over here. So let's go into isolation mode, see what we're dealing with here. They have separate bricks. Not a problem. I am looking whether or not we can get away with automatic VM wrapping. I think we can. Looking at this, I think we definitely can. If you're seeing any of the different colors for the faces, don't be afraid to just re UV and wrap it with a higher angle tolerance. So instead of using 80 degrees, you can use like 85 or 89 even, and hopefully it would give you the right setup. This depends on a displacement and a texture, perhaps. So I am quite lucky with this angle over here being not too steep. So that's quite nice. And I think yeah, let's go ahead and leave it this as is. I'm quite happy with this result. There are some parts like over here. If I have a look at it, this part over here, maybe I'm not overly excited about it. Maybe I'm not too happy about it, but it's not going to cause us any issues with the UN wrapping. And I think because it's small enough of a setup, it's still going to be quite alright. I'm just looking at the entire piece, actually. So we have all of these UVs. Let's see. You know what? I will show you how to quickly fix this because it's such a small little thing, and we don't need to touch it too much. But whenever you see this kind of a triangle over here, like angle triangle, all we need to do with it is simply, well, go on to selection, select this piece, and it's not going to work because I've not mentioned anything about UV sing selection. This is my favorite option in UVs by far. Because with this selected, you don't really need to have a selection anymore on Viewport. So we can have it di selected, and it's still going to keep all of the UV islands like so. And with this off, it's just going to be based on selection. So meaning that if we have these bricks on the top selected, it's only going to show the brick UV chunks on the top. But with this selection, this selection itself does not matter. It's only basically what is in edit mode. Everything that we have within our edit mode is going to show up over here. So with that said, we basically don't need a selection over here. We can double tap A, and we can find islands on this end. I'm going to go on Face Selection, have this selected. And now all we need to do is basically click G and just move it out of the way. And that's not going to work with a new version of Blender, they introduced sticky selection mode. So let's make sure we have this disabled. With this disabled, it means that we basically can click G and move it out of the way, and it's going to separate the UV shells into two separate chunks. So that's going to be quite right. I'm going to do the same thing for this part over here, and I think that's all. I think that is it for me. Again, I'm not overly worried about it, but it's just much nicer. And then when we're going to go over well packing and everything, it's going to automatically rotate these parts. So we don't really need to worry about that. In this particular part. We're going to leave it as it is. Let's have a look. Well, let's go out of the edit mode. Let's go off the isolation mode, hide this bottom piece, and let's see what's next up. This little chunk over here. I think this part is quite reasonable, but we do have a lot of problematic faces. So let's see. I'm going to go into isolation mode just to make sure that the upper section is quite a little bit better to see. And I see that it's looking quite right, but I am worried that, with the bevels over here and such, we do have some variations that I'm not too sure. The other thing that we can do with this UV sink is that when we have a selection, we can hover our mouse over the viewpoint, and we can hit the dot on the numpad. That's going to just focus on the selection, and then we can see which exact UV shell we have on this area. So it shows that this is the part. This part is quite right, just in case I am going to SmartTV project as a higher angle limit. And that's going to give us a little better of an outcome, I believe, hopefully. Let me just see. So that's quite right. This is an issue. But is it a big issue? Is the question. So at this point, I think we should start talking about the context of what the object is going to be used. I think that's going to be a nice little introduction. So in here, we need to consider what this part is going to be used for exactly. So going back to the reference for the basic shader setup, we see that this is going to be also stone, so we don't need to be worried about, like, reflection as much as metal because those would have a heavier noticeability whenever there is an issue with UV islands. Uh, but that being said, in this area, I would like to put on, well, some ornaments, some decoration. So we just need to make sure that part, this window over here is its own UV island just to make sure that it doesn't break up because it's going to be part of the focal point. And I think the rest is okay. So there are issues like over here, for example, this part not being connected, but am I worried about it to fix it? Mm hmm. So I think I am a little bit. I'm going to do a bit more of a cheeky way of fixing it. I'm going to click one old Z and just select the bottom paste. Then afterwards with the selection, I can click Control plus until it grows to a reasonable amount and then unwrap it with a lower angle just to make sure that it doesn't separate in an awkward way. And that's going to look much better. The bottom piece is a separate chunk, but I'm not too worried about that. So all in all, this is looking much better. So maybe like this breaking might not be quite alright. But with the concrete default noise and everything, it's not going to be quite as visible. I'm just glad that we don't have any, like, separate faces where it's just a separate UV shell. And the rest is good. The rest is good. We can leave it as this. Let's go ahead and go out of isolation mode, hide this piece, and continue on with this little chunk. So this little chunk on the inside is completely hello, meaning that we can work with it in a more unique way, let's say. All we're going to do is click seven, go to the top down view, go on to Edit mode, old Z to make sure we have a transparent selection and select ourselves with a box selection going across, meaning that the front and the back is selected, huh, I just realized one more thing. There are UV seams. UV seams here are not good. We don't need them. We are going to select it all. We're going to go on edge selection and remove the seams by clearing the seams. Because otherwise, when we create ourselves new seams, it's not going to go quite as well. It's going to give us unnecessary islands. And I just realized I did not have the X ray vision turned on. There we go. Now if we have an entire selection like this, we can go on to select loops and boundary loops. With this lovely selection, we can mark seam and have ourselves this type of an edge loop going all the way around. I think that's quite alright. It does look quite alright. I'm happy with this. Let's go ahead and simply use unwrap conformal. You might be wondering about, you know, what unwrap angle based unwrap conformal, unwrap minimum stretch where you need to use them. In short, they kind of do the same thing, but they have different algorithms. Minimum stretch is helpful for whenever you want UV shell to be more for, like, organic stuff. Whenever it has more stretching, you can control that a little more conformal with the default UV unwrap. And angle based is well, it allows to straighten out a little bit more of those UV shells to make the packing a little better. So do what you will with that information. But honestly, just using conformal, it's quite all right. You can change it from here as well if you want to. Then you would have some nice little options. So, for example, minimum stretch iterations. Oh, you can control then the iterations of how relaxed the UVs are. But again, this outcome for the pick is more than good enough. It's looking great. I love seeing this nice and packed up. All of the UV shells are not overly what's it called? Um complex, just simple basic type of setup. We can hide this out of the way and continue on with these parts. At this point, I just want to double check what material it is. So this part, everything at the top, is going to be well, concrete or stone or just a general type of noisy texture. So it doesn't have any direction. We're going to when we come to the wood section, we're going to talk a little bit about that more. Now over at this point, though, it's quite okay to just wrap all of these parts. I'm just going to isolate this real quick, see what's up with all of these objects at once. So at this point, we can just select all of these parts. So both the sides, the bottom, and the upper pillars, select them all at once and unwrap it with SmartTV project angle limit quite high up. See if it works. So I'm okay with this part, this part, everything is okay. Looking whether or not, again, the faces are just randomly floating, so maybe the closest part over here would be having an interesting UV seem in this part. But outside of that, I am not seeing anything too awful with this, maybe a little bit over here. Again, this type of these type of seems are not going to be visible, so I decided to prioritize the time a little more, and we don't need to worry about perfection too much as long as it works for that specific purpose, and it's just going to be a stone, which will also be a stylized, more of a stylized type of a prop, meaning that we're going to emphasize a little more with the edgeware. The edgeware is going to be more like whitened up, washed up a little bit, and the seams are going to be even less visible on those corners. So that's why I am not too worried about them being like, you know, just having like a random UV shell going in here. So this part, this part over here is just going from the top, but that's okay. It's not going to be visible it's going to look quite lovely. So, yeah, that's a nice type of setup. I'm going to re select this. I'm going to go out of isolation mode and hide this out of the way. Now we're left with, I'd say, more complex items, so we're going to continue on with this at the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 26. UV Unwrapping Wood and Stone with Smart Seam Placement: Hello and welcome back everyone to Game Asset creation Fantasy Lights. In the last lesson, we left ourselves off with a couple of the assets left for us to do. We're now going to continue on with them. And let's say we can move on too, which would be the easiest. I think the easiest would be perhaps this part over here. Let's go ahead and start with this little one because I'm pretty certain that we can just unwrap it with a higher UV unwrap limit. Let's go ahead and do that. There we go. This amount of islands quite reasonable. I believe it's going to be, it's going to be stone, so we don't really need to worry about the islands being in the wrong place and whatnot. I am worried, though, h, there we go. Yep. I am worried about this part, though. So I think what we can do is we can click L to make sure that we select this UV chunk. And then we can just UV and wrap with a lower count. 75 like this would be quite right. There we go. It's not going to give us any of the weird stuff. We can also just select this part over here, just rotate it or sort of grab it, move it out of the way. So now these shells are separate. And we can leave this as is. We can now hide this out and move on to the bolts. In terms of the bolts, we have, if we look at them isolated, we have no back faces, meaning that we could make our lives so much easier by just simply selecting it all. And unwrapping it with this time minimum stretch. We're using minimum stretch because we can essentially unwrap the iterations with the sorry, unwrap the stretches with multiple iterations. The moment we start increasing the iterations, it's going to kind of relax all the vertices in between. And for such a shape, it's quite okay. Looking at it, you'll notice that some bits perhaps are slightly bendy and whatnot. It's totally acceptable. That's totally fine for this particular part because it's not going to have any directional, grain or anything. It's not like It's made out of wood. It is metal, meaning that the only thing that we are concerned with these bolts is going to be making sure that there are no seams going through the item. If it has seems, the uh, slight roughness values or whatnot are definitely going to be more visible on those metallic, shining glossy surfaces. So the less UV seams that we have, the less breakage that we have, the better. So that is going to be quite right. Let's go ahead and hide this out of the way. Next up is going to be let's have a look. I think we can start with the wood part, and the wood is going to be these three chunk pieces. Let's go ahead and do them. So this type of wood is going to be quite interesting. We can go ahead and select it all. I'm going to write away whilst we are in this edit mode. Actually, let's go ahead and go into isolation mode for these three chunk pieces. Whilst we are in edit mode, let's go ahead and click L with the normal delimiter and, uh huh. So that's that. I want to make sure that we have this selection as its own chunk as its own piece. Trying to think of a better way to do this. Right. So what we're going to do is we're going to select this entire chunk with the normal delimiter, hit Shift H, and then click one and then use Old Z and make a selection across like so holding Shift to do another one, we can hold space to kind of reposition our box selection. And shift and space, and we can just reposition it a little bit again to get this sort of selection. That's great. That is looking wonderful. I'm going to click Control minus real quick just to see if it's needed. I think it is needed. This part needs to be part of the wood. So now it's looking quite nice. Okay, now that we have this selection, let's go ahead and unwrap it with a higher angle limit. It's probably going to be quite alright. Now in terms of the setup I would I would say we can keep it as it is. We do have a lot of gaps in between, but this is not a big type of chunk of an island. It's not like a big object for this particular for these rings. So we can just keep them as is. We can hide them out of the way. And we have this setup. So right. Now we have something like this. Let's start unwrapping it a little bit. So we are going to I think we can just unwrap it with UV projection, but we are going to have a small little bit of a difference. But let's make sure that the angle limit is more reasonable. 86 seemed to work quite well. If we were to upscale this, so we'll see that some of the parts go in this direction. For the letter, some of the parts go in this direction. We need to make sure that everything goes in the right direction. And the reason for that is because we're going to have directional wood in here. Directional wood means that it will have a flow of the wood that needs to be in the right setup. We're going to make sure that it's properly set. So for that, I think we're going to have, we're going to have vertical lines. So whenever the edges are opposite, Yeah, but it goes to the left side or the right side, the letters, doesn't matter, but the grain of the wood is going to go in the same kind of direction of the readability. So, for example, this part of here, if you select it with UVs, and this part and this part. And this is okay. This is going to be fixed in a bit. So for now, let's go fix up and down section. So when automatic VN wraps are being used, they are centering, repositioning those UV islands, but they're not doing it based on the angle of the world. The way they are unwrapping is based on the width or the length of the UV shell. Because this is a longer piece, it just decided to unwrap it in this way because we had, like, a longer wood section going across. This does not account. Does not account for that UV shell set for example, this part, this UV island goes across like this and it means that automatically it positions the direction of the UVs that way. So that's pretty much it. Once we have the selection like that for upper and bottom parts, we can hit R 90. Let's make sure we have that in face mode, so. Yeah, I made quite a bit of a mistake. We need to be in a phase selection whilst making selection like this with the UVE islands. So let's double tap A, select everything, and click L for the top and the bottom parts of these items. Now hover over the UV section 90, and there we go. Now the direction flow is going in the right type of way. That is a live to see. Now, next up is this part over here. What is happening with this? Well, for Sarus this does not need the seams. So I'm just going to clear up the seams like so, and I'm going to try to click L with the normal delimiter and unwrap it with UV projection. Let's see if it works. Seems to work quite well and parts are quite off a little bit, so maybe I'll increase this a little bit. There we go. That's what we're looking for. Let me have a look at this part. It's not what we're looking for. What is happening here. This is not the right setup. Let's go ahead and wrap it again. Let's see. So I'm going to lower this a little bit. Like so. And yeah, this is quite right. I'm happy with this result. There are some parts, little parts over here for the UVs. But let's see where they are. Yeah, I'm not worried about this section. It's totally okay. The only thing that I'm worried about is the direction of the wood. So I'm just looking if this is going to be reasonable or not. I think we're going to fix them. So the direction of the wood is going to be following like straight lines, but this is a little bit bendy. This type of section, if we have a look at it, it's just bending upwards. We need to make sure that we allow that wood to bend with the direction of this log. So for us to do that, we are going to select both of these UV shells. So I'm just going to move it out to the side, just like that. So we have these two bendy type of wood pieces. There is a very nice option using UV preferences, add ons, very nice option called UV squares. So this one over here. If you want this add on, it is free, completely free. All you need to do is just go search up UV squares splendor, and you will find a GitHub add on. You just simply need to click on code and then just download the zip. And afterwards, just click on arrow here and the preferences on addons tab, install from disc, locate the UV squares and install it. That's pretty much it. That's the whole installation. Once you have this on and enabled, you can use this. If you click N, you can use this UV square stab. Out of the stab, all we need is a simple option to use two square grid. This has an option, a shortcut, Alt E, and we can use that to basically straighten up all the UVs necessary. In order to use that though, we need to make sure we have this selection. So we already have this selection for both the ***. Then we're going to disable this UV sing selection because it doesn't work otherwise. And then we can click and E, and it's going to straighten up those UVs. And you can see that now the squares are slightly bend and they're deforming, which is going to be great because it's going to allow us to make the wood flow in that direction. So that's good for us, really good. We can now go ahead and hide this out of the way. And for this chunk of wood, we can just probably well, unhide it all. Do a quick Smart TV projection, like so. I think I think it's quite right. Yep, it looks quite right. Is it quite alright? I don't think so. Let's go ahead and just lower this down a little bit till we get more reasonable of an outcome. Yeah, that looks good. Now we can go ahead and just hide this in an object mode out of the way. And this part is going to be. This part is going to be pretty much the same as what we did before. We can make our lives a little bit easier by clicking seven, going to Olds and just selecting this upper section, like so that way, we have this entire part to be separate. And we can go use the select loops, boundary loops. Make a seam and unwrap this as a minimum stretch, I believe. No, not minimum stretch is going to give us very unique and wobbly results. So let's use conformal, and then we go. That's what we want, except for these parts, which need to be well, they need to be a little bit better set up. So I'm going to go onto Linked mode, select these parts on the side, and unwrap them with maybe minimum stretch. Let's have a look. Maybe it is minimum stretch. Let's see. So this is a very unique shape because this is a thinner part at the bottom, and it's going to become bigger at the top. So I realize that we're running out of time. We're going to continue on with this in the next lesson. Thank you so much for watching and we'll be seeing you in a bed. 27. Straightening Wood UVs with Follow Active Quads: Hello. Welcome back, everyone to Game Asset creation Fantasy Lights. In the last lesson, we left ourselves with a little bit of an issue, meaning that these parts on the side don't want to quite be unwrapped. Let's go ahead and fix that right away. So what we're doing here is basically we're saying that these two parts need to be straightened up. And we can't just leave them as is. They need to be straightened up. So what can we do about it? Well, we can grab ourselves this selection. So I'm going to click L on one side. And then while holding Shift, I'm going to re select, Oh, let's go ahead and click free to make sure we are in a phase selection mode. Then I'm going to double click A to deselect everything. Click L only one side. Then I'm going to hold Shift and just double tap on one of the phases, meaning that this is an active selection. We're going to make use out of the active selection to click U and follow active quads. And this will, hopefully, if we click Okay, yep, it's going to give us a straightened up section. There are some trangles on the side. What is happening with these? Are they Where are they? What's happening? That going to go on to the UVSing selection, see what is going on with these triangles. Where are they? Ah, okay. So they are just separate pieces, which is fair enough. But I'm not sure why it wasn't selected when it clicked you, and It's interesting. So click L, UVs. Oh, let's go ahead and make use out of seams instead. This way, the entire selection is selected until the angle of the seam is. So there we go. And now we can just hold shift and just tap on one of the well, one of the squares at the bottom. I'm using this at the bottom because it's like, from a straightened up line, so it's going to help us straighten everything up. And, let's just make sure we use the right there we go on wrap. And now we are having a very nice type of stuff. So one thing you might notice is that the bottom might have little smaller squares, but that's quite right, or wood is going to be stretching out and it's going to add up to that stylus effect because it's going to be more organic looking. So I'm quite happy actually with this outcome. I'm going to do the same outcome on our side. So selecting using L with the SMs, selecting well, I square in the middle and using active quads. There we go. We have ourselves mess. Well, not a mess, actually. This is just going diagonally. We need to adjust it. And I'm still having these squares. So what is happening over here? This is selected. This is selected. These squares just do not want to follow the dynamics. So if I select this again, follow active squads. I'm going to unwrap this formal first. Hopefully that helps with these parts on edge. Then this is still the active selection, follow active quads and I'm not seeing any squares anymore, so that's good. Might be actually one over here. There are still a couple of squares over here. Hmm. To make my life easier, to make sure that we don't have those squares, I believe the reason we're getting these squares is because these just don't want to be wrapped in the same length. So I'm going to go ahead and fix upper section like this real quick. Make a selection like we did before, like so, click Control plus. That way we have the entire section. And actually, before doing that, I'm going to select it, remove seams like so, then do the selection at the top, just like that. And we are able to click Control plus, make a selection, then we can unwrap it using conformal, and something is not right, uh huh. So it just wants to get these edges on the side. Are there any over edges, yep, there are over edges. So this part is probably the messiest one of them all, actually. Hopefully, we don't have any issues like that later. And it's all about problem solving sometimes, making sure that what we're doing it for is going to be quite right because it's for wood, we definitely need to make sure that the flow and the grain is going to look quite nice. And once we have selection like this, we can just simply have it selected. We can click Conformal wrapping, and it should why is this being given to us? Mm hmm. I forgot to deselect this part. Alright, so now conformal. Let's see. There we go. Nothing. No issues. This is going one way. Okay, just rotated, like, so all of it is going now in the right direction, nice and straight angles, looking beautiful, looking pretty, going in the right way. Lovely. Alright. So now we can go out of the isolation mode, hide this out of the way. And now we have some other things to work with. The rest, I think is going to be quite easy. Let's start with the sign. The bolts probably going to be quite simple. So they should not have anything in the back. No, double checking. We can go ahead and select them all. We can just do a minimum stretch, and we get ourselves a nice little setup. So these ones will be a little bit more stretched out in terms of the UVs, because the backside still has, well, quite a unique shape. All of that stretchiness might be too much if we decide to do, a little bit of an extra detail, but because these are just simple metallic bolts, it's going to be quite alright to keep them as a even if the stretchiness look quite well unique. It's still going to give us a nice amount of detail for the UV resolution for the texture resolution. So once we have it done like this, we can just hide it out of the way. And this part is, let's go ahead and isolate it. This part is just, I believe, let's go ahead and UV and wrap again just in case. Let's see. With a higher count, I do not like how they are turning out to be, actually, because they are bendy. They are giving us some unique results with the UVs. I think it's best if we were to just do it manually. We're going to select the main face for SRS. This is going to be our main chunk. I'm going to move it out of the way because it's already wrapped. Again, with the UVs in selection and sticky selection mode disabled, it's quite easy to do. Next up, we can just hide it out of the way and we can create some UV seams. So for that, I think I'm going to click free to go to Face Selection, select this part over here, and select these parts on the side, like so. That way, we can make a selection and do select loops, select boundary loops. Then it's going to give us a very nice hedge seam Like so we can mark Seam and now we can just unwrap this with a lovely minimum stretch, I believe. Yep, with a lovely minimum stretch to get this kind of frame, which is going to be much nicer overall. Yeah, that is looking lovely. Alright, let's hide this out of the way and see what else we're dealing with. This frame at the back, it's going to be pretty much the same method. Let's go ahead and isolate this. Let's make sure that we are in X ray mode. Click free, make a selection over here. If you don't want to see this by the way, if you don't like the UVs, if it's hard to make a selection look visible, you can just simply, well, if I was to scroll a little bit to the side on a you can just simply use Vport shading, and that's going to help us out a little bit to make the selection more visible. So again, we're going to do that same type of method with selection. So let's go ahead and continue on with the process. Mark, no, that's the wrong one. Mark seems. Whoa, okay, I click a little bit too fast and confuse myself. Let's go ahead and Mark seems like this. So now we're getting ourselves a nice result except the top is not right. What is happening. So Uh huh. Okay, so the upper section is a separate cube, so it's not exactly the same as the previous setup. The upper section, we can just use MRV projection. We can just hide this out of the way. And then I'm going to hold Alt and just create shift holding Shift and Alt, create edge loops like here, here, here, Mark seams and do minimum stretch projection. No, that's not it. What did I do wrong? Oh, right. Once I created those edge seams, this also has the pack faces as well. So I'm going to need to create an edge loop going all the way around with this because looking at the UVs, you can see that this is not going in, like, a cylindrical unwrap type of way. It actually just creates a doughnut shape. Whenever it creates a doughut shape it's because it gets confused with how the UVs need to unwrap. There's no, like an outlet, but because we're creating this edge loop on the back, we can now just select it all. And unwrap it conformal or minimum stretch doesn't matter at this point, because it's not going to help us in any way for this particular setup, but you can see that this is what we're going to get. I am going to double check real quick. If this needs rotating, we can rotate it. But if it's metallic, which it might be, it is metallic. We don't really need to worry about it because it's not going to be wood. If this was wood, the direction of the wood would matter. Sometimes in substate it, you can just fix it manually. But here, direction of the wood does not matter because it's metal, so it's all good. Let's go ahead and hide this out of the way. And for this, we are going to simply select it, just do Smart TV projection with an angle limit quite high, not too high, though. And I think that's quite right. We are getting some messy little bits. Let's see where they are. The back. Oh, fair enough. Let me try doing it again with Smart TV projection set to maximum. There are some interesting shapes, but I think they're lengthy and still quite nicely uniform, and they're going to be going on the inside. I just I am just worried about, like the front and the back mainly. This is going to be wood, so I'm just making sure that the flow is looking nice, which it is front and the back. The parts inside aren't quite as relevant, but I mean, they will have their own setup But even if they're broken up a little bit, it's going to be quite all right. So here, this part is a little bit broken up. It's not going to be, you see, it's not going to be quite as visible, so it's all good. All right, so that's going to be it for me. I'm going to hide this out of the way, and now in the next lesson, we're going to continue on with the chain. So that's going to be quite fun. Thank you so much for watching, and I will be seeing you in a bit. 28. Efficient UV Unwrapping for Chains and Cylindrical Bolts: Hello. Hello. Welcome back, everyone to Game Asset creation, Fantasy Lights. In last lesson, we went over some curved wood. We're now going to go ahead and create ourselves some additional UV information, especially for these chains over here. These are the ones that are going to cause us most of the issue. Well, not cause us most of the issue, but they're just slight, small, tedious little tasks that we need to go over. And it's a little repetive. It's a little repetitive, but it's okay. It's not quite as bad as I make it out to be because we're just going to select this little piece, go into edit mode. And well, we can Well, we don't have to have an entire selection. Actually, they are separate. I just realized, which is going to make our lives much easier. Let's go ahead and have those chains selected. Let's go into isolation mode, and let's start the process. The main process here is that we need to turn this into, well, certain unwrapable a piece that are going to be more like cylindrical type of tubes. So we're going to start placing all of the edge seams. I'm going to start by being extremely careful and just selecting it all and clearing all the seams that may or may not exist just in case. Next step is I'm going to go ahead and just select anywhere else. Well, we can just double tap A to make sure that we don't have any other selections. Then holding Alt, we're going to go on the inside part to make sure we are getting those kind of selections. So then afterwards, we can hold Alt or sorry, shift Alt because otherwise, this other selection is not going to be holding shift and we just tapping on all of the inside of these chains and going up and up and up, and we're going to get to the last part until we get this kind of setup. Then afterwards, we can just simply select this part over here, hold Holt and tap, making sure that we are wrapping also like telling where that tube is going to unfold. It's best to unfold in areas where it's least visible. So at the bottom, where it's well, not quite as visible, especially half being covered up by the avochain. So it's generally the best area for that. We can just go up and up and up, like so up and up and up, and we finish the top. So the top section we don't need it actually here because we just need one loop per chain. So now we can mark Sam and we can go ahead and select this. So click Old Z, make a selection like this and unwrap with conformal. Nope, conformal is not going to do quite as well. I'm just noticing that minimum stretch, minimum stretch will do well. Nice and simple type of islands. Looking, very nice. Step is going to be the over side, but I'm quite lazy when it comes to that stuff. So I'm going to make my life much easier and your life, as well. We can check if the chain is the same in terms of a mesh. So I'm going to click one, making sure that well, it's the same height or whatnot. I notice that this part is slightly thinner and this part is thicker. Other than that, looking from the top, looking from the side. They are identical with the shape, the placement, and all, and we can make use out of that. We're going to go onto Edit mode. We're going to click Old Z, select this outside. Click P, separation by selection. So it's going to be a separate object. Then go back onto this. Click Shift D, GX, move it to the area exactly where this is. So it's going to be overlapping nicely. I'm going to now actually hide this out of the way so I can select back on this chain and then delete it. And then this chain is also going to be, well, the duplicate of a previous chain. So we can also delete it since we have some nice, lovely UVs. Basically, we're duplicating this part to the overside and it's going to have identical UVs, but once we start packing it all up, it's going to be quite easy to separate them. Next up, these bolts. These bolts, I am going to quickly see how they look like old age in terms of the setup, so they are not going quite as much as I hoped meaning that it might be best to click Control. I click Number two by accident, and that just went into the collection view mode. Anyways, going back to this, what we're going to do here is we're going to just select these parts at the front. Going to click Control plus until we get to the very end over here, and then I'm going to click U and unwrap minimum stretch. So it's going to nicely stretch around the area like this. The end part can be its own unique little asset piece. So we can click Control I to invert it and that's not going to do much vertically control Z. Go ahead to hide this out of the way, actually. The reason being is that we need to create some seams. So let's go ahead and do that. I am going to check if there is no extra topology next to it, like super short or small. So like bevels and stuff. Anyways, now we have the selection at the bottom. We can go ahead and mark Sam and we can select these and unwrap it with the conformal, I think you'll do. Okay. Conformal will do, yes. All right. So we have this. We can click AlternH. We can go ahead and go out of isolation mode. We weren't in isolation mode. We can just hide these bolts out of the way now. This part over here, let's see what we can do with it. Well, for starters, the part in the middle is definitely a cylinder. We can go ahead and just select this and create an H seam at the bottom, Mark Sam. And the part, is it? Oh, interesting. So this part is actually separate piece. Yeah, it is. Go to click L, going to click on normal delimiter and shift in And, yeah. Okay, so what's happening here is that we have some faces on the up end to make our lives a little easier, we're just going to go ahead and delete it. I'm going to hold Alt and just going to go onto selection mode, Hold Alt and select, so the entire piece is selected, including these edges on the end. Click Mark SM, and now we can go ahead and just click L and unwrap minimum stretch. Minimum stretch, conformal. Yep, conformal will do. This outcome is a little bit interesting what's happening here. By accident, I just didn't select at all. I think we can just re UV and wrap, and there we go. I was checking the shape, and I saw that every single one of them had, well, little cube for the bevel section, little square, but some parts did not have that, and that was my mistake. I did not have the full selection. Anyways, going back to Edit mode, I'm going to go ahead and just select this and click H ten select it and basically hide it out of the way. And as for these parts, we can we can can can can make our lives a little easier. We're going to make a selection over here. We're going to make selection over. Is this part separate? It might be? Yeah, this part is separate. This part is also separate. Okay. So we're going to make our lives a little easier. We're going to go ahead and just select these edges on both sides. Mark Sem and then we're going to select one part over here. We're going to hold control, select other part, Mark Sm, then we can select based on UBs. Oh, based on the scene, there we go. And we can just do minimum stretch unwrapping. There we go. Next up, we can just go ahead and click a quick Control E to invert this, unwrap this entire part using automatic V projection. We don't need to mess around with it too much. We can just do it like that and give ourselves a nice little shape to work with. So there's such small pieces that it's not going to matter as much. I also don't want this to be done multiple times, so I'm going to go ahead and just select this entire piece, like so, going to separate this part. Like so then find this on the other end, also going to separate it by selection. So now, basically we have three parts out of this, which is great because we can simply let's see. What's the easiest way for us to do? I can either duplicate it or make it my life a little easier. We can mirror it like this and then just select this up part that we don't need, delete it. This one will have nice UVs, and I'm going to just click on the strangle, apply the mirror. There we go. Now we have this part that's properly UV and wrapped and we can hide it out of the way. Next up is the lantern. But since we are running out of time, we can continue on with this in the next lesson. So thank you so much for watching and I will be seeing you in a bin. 29. Final UV Packing and Texel Density for Export Ready Assets: Hello. Welcome back, everyone to game asset creation, fantasy lights. In the last lesson, we left ourselves off with the lantern that's only left for, well, setting up the UVs. We're going to continue on with the setup. And the next part is going to be these, these nails over here. They are quite short and inside, there's nothing there. So we're going to use the same method as we did previously with the short nails, which is just going to be unwrapping it, like, so that's going to give us a nice little setup. Which we can hide out of the way. Then this part is going to be an entire piece. I'm going to leave it off. This part is going to be just a small little chunk and it's already unwrapped. We can go ahead and just hide this out of the way. Actually, sorry about that. Let me just double check. Okay. I noticed that there is some bit that's slightly stretched out. So just going to unwrap it again. And let's have a look. Using this angle limit does have a little bit too stretched out of parts, for some reason, it keeps it stretched out. Let me have a look at the scale. Yep, this scale is a little bit of an interesting one. I'm going to go ahead and fix it. Real quick, I will select this entire piece now and just do convert mesh. This way, this now should also be applied with transformers, but it doesn't seem to do that. Doesn't seem to want to do that, although everything else is fine. So for this little piece, we can also use Control and A and just use rotation and scale. Once we apply that, it's going to now allow us to unwrap it with no stretching. There we go. So that's the proper way. Let's go ahead and just hide this out of the way. Now the chain, we can isolate this and do what we did with the previous chain, which is going to be grab a nice little part on inside holding shift, and I'll move for all of these little parts just like that. And we are going to have an entire piece, which we can now mark seams and get ourselves another mark seam over the middle part as well. There we go. Little by little, we are taking all of these nice little chains to get a nice mark seam, which we can now simply use wrap minimum stretch with maybe more iterations or we can use conformal nope. Minimum stretch will do better. I think it's going to be quite okay. Just checking with iterations, what kind of amount of iterations will give us a better, more conformal type of setup. I think that's quite right. So we can go out of isolation mode. We can hide this piece. And we are left with this. So let's see if we need to do anything additional to that, Lantern over here. I don't think we do, actually. Looking at the setup, all of the layout looks quite nice. I'm going to double check real quick delimiter with the normal to see these parts if they are connected of the mesh. So sometimes the glass is a separate piece, but in this case, it is part of one mesh. That's quite right. And I think I'm just going to double check the UVs, the UV shells that is. Yeah, these are just one mesh pieces. So yeah, is good. I think this one, this part over here is let me just go ahead and check that real quick, actually. So this part, yeah, it is part of this plate as well, but it's nicely tucked in. So that's quite nice. Yep. Alright, so now we're going to go ahead and just simply with everything said, we're going to simply well, move everything inwards. I am worried about the amount of parts actually, that might be a little bit too much. But for this particular one, it's okay to have one item that's a little bit like that, although these parts these parts are, these parts are like that. Unfortunately, it's going to be quite right. They are going to be metal, so we could potentially make less of UB islands with the seams, but because they're so elongated, they're so long, I think it's okay to just have them as separate pieces. Anyways, let's go out of hidden mode, so Alt and H whilst we are in object mode to get the entire piece, and now we have this little setup. So everything we have over here is nicely set up already. The only thing I would say is that now we need to well pack everything up. And the first thing that I'd like us to do is firstly, make sure that the rotation of everything is properly set. And by that, is that right now what we're using is maybe some parts are diagonal, like the pieces that we remove the shapes from. So this part over here, for example, is diagonal. So in order to fix that, we're going to use unpacking method. But before doing that, I really wish to save out these parts over here that we took so much time wrapping and making sure that the angle and direction is going the right way. I'm going to go ahead and just select these free, like so that's the wood, going to hide out of the way, and the rest, is okay. The rest is okay. So we can go ahead and select it all. We can simply grab it in an object mode like so, select it all and now we can use an item called pack islands. Packing islands will also allow us to well scale and rotate. This is the main part rotation. We can change the rotation to be any direction. And I think we're going to set it to horizontal or sorry vertically because we want them to be the same as that wood direction. So whenever there is more of what's it called more of a lengthier island UV islands going to basically, make sure that it follows that direction. It's especially important over here, for example, a sided where it does have wooden boards. So we're going to make sure that they are following the right direction. So using vertical is going to do well. Now we can click PAC and just wait a little bit. At the bottom, you see the loading, and we're going to get this type of result. I'm going to upscale it real quick just to kind of see all the lettering and everything, just to make sure that the wood areas, especially is being kept the same, going to click AltnH. Now we bring all of these back and double checking. So this part is wood. These parts are wood. The rest is metal and stone, and they're going to be right. Now that we have everything sorted, we can go ahead and select the entire piece. We can go on to Edit mode. Click AltnH whilst in edit mode, making sure that everything is revealed hidden. So that's a good habit to have if you're using hidden hidden mode. So AltnH just whenever you go into Edit mode, now we can go ahead and select it all like so. And the first thing that we'd like to do before doing anything else is going to be going to UVs and averaging island scale. Aaging allele scale will allow us to make sure that everything is proportionally scaled. So now this textil density is going to be the same over here, over here. All of these letters, you see, they're going to be the same size. So that's important because now we can pack them up. Packing up islands is affected by the scale of the pieces, meaning that if we want to have, for example, more of a resolution on our sign, we could select this piece over here. We could make it a little bit bigger or once we have it selected, we can click S two, and that's going to give us double the resolution. Now when we select the entire piece, we can click Pack Islands with the scale turned on, rotation turned off, and we're going to use a margin of 0.01. It's quite a minimal we're going to reuse, we're going to use two K or four k resolution. When we're texturing, it's going to be two K, but if a way for such a prop, it's going to be more than enough. Let's go ahead and pack this up, and there we go. So now we have all of this nicely packed up with the same resolution except for this part, which is going to have twice as much resolution. So for a sign for lettering and whatnot, it's great. It's exactly what we want. And that's pretty much it. We got ourselves, everything sorted, everything is ready. We can go back onto the layout real quick or modeling and quickly check the UVs real quick. Final quick check not outline, sorry, the face orientation, double checking that everything is properly set. We can also just select this Control A rotation and scale just before we move that out of the program, just to make sure that everything is properly sorted. And yeah, that's going to be it for me. Thank you so much for watching and I will be seeing you in a bit. 30. Exporting Lantern Meshes for Substance Painter: Hello, welcome back everyone to Game Asset Creation, Fantasy Lights. In the last lesson, we left ourselves off with this lovely little light with all the necessary texturing and UV information. Everything is cleaned up, and now we're ready to move on to the next step. So what can we do? Well, first first, just to make sure that we have this entire lantern that's different from the rest, we can go ahead and just move this to a new collection. So I'm going to click, going to call this Lantern you can call it lantern. That's it. And we are going to take off the rest of the collection and move this lantern of ours to the world position. It doesn't have to be perfect. We just need to be just generally placing it like so, and that's going to be more than enough because when we are in substance painter, it's going to be well, within a default world position. So if we have items off on the side, it might be a little bit awkward to rotate them around and whatnot. Alright, now that we have everything sorted, we can go ahead and clean up the naming. So first things first, we can just go actually through the entire outline or through the collection that we just created. So I'm going to go one by one object and just quickly give general names. So it will help us to, well, keep everything tidy. This can be platform. Like, so this can be sign. Sine frame. So then this piece is going to be base base support. This one is bot support. This one is low support. There we go. We're not going to get confused with that at all. We will. We might. But when texturing, honestly, it's all about visuals. It's just a nice preference to keep everything tied up at this stage. So this is going to be what support. This one is also going to be wood soup, horizontal. So the Looking at these, I think at this point, we can we can't combine them, actually. When it comes to combination of items, it really is up to your preference. At one point, you might want to combine everything. At times, you can keep it as it is. It depends on the type of scope of the project you're working. So for example, in certain cases, you might want to have multiple assets at once to be textured right away in substance Banner so you can take multiple objects. And in such cases, you might want to just have everything joined up together. In this case, though, since we're doing just a single it's totally acceptable to keep the items a separate objects. There is an option in substance Banner, which will help us out with that, although there are alternative masking options. So Ivo Boy will work. Let's go ahead and just continue on with the process. So Lantern bolts. I'm going to just write that in. This one is going to be Lantern wood sorry, bolts wood L s and this one is going to be sine. Actually, this one was part of this part. So I am going to just combine it just to make sure it's a little bit less of items. Go to then call it a sign or horizontal, so. Chains can be combined. So I just select them both, click Control J, and call it chains. Then next up is this part. So this is sine bolts. This one is sine upper bolts. This one is a sign sorry, lantern. This part is just looking at this. I'm probably going to combine these two to make my life a little bit easier or actually, sorry, no, we're going to keep them separate because it's a little more consistent since we have these chains over here on the side. We can keep them separate as well. So chain, lantern. So this one is Lantern ulster or Lantern hold. This one is, like, support, diiagonal this one is a wood sub beam. And this is sign inside. Like so. I can call this upper stone. Oh. Can call this upper stone top stone. It. Top Mint Stone and mid pillar. All right. So we have ourselves everything named up with our own totally creative names. We're finally finished with the naming. Now, what's going to happen next? Well, next step is going to be selecting the entire piece, making sure that we're only selecting this object as it is. Then we're going to make sure we go onto file, hit Export, and we're going to export ourselves FBX file. So let's go ahead and do that. We're going to click Export. As for the settings, we're going to start off by making sure that the path mode and batch mode are set to auto on off. Then we're going to select limit objects to selected objects to make sure that only the selected items are going to be exported. We can also click object types to be mesh, although with only objects being selected being mesh, doesn't really matter here. Next up is going to be set up as default so scale set to one and forward set from Z to Y up because the original FBX file has the well, Y being upwards and in blender, is the one that's being upwards. The substance painter also has Z being upwards, but by default, it's going to convert to Z value from Y FPX format. So meaning that we basically convert the Z value to Y value then we convert from Y value back to set value. That's just the way it works with FPX files. The next step is geometry, we can keep this as normals only, although if you are using unreal engine, it's better to have this moving set to face because that's going to save out those smoothing out engines and whatnot. Next up is, well, we can keep the rest of it as is. We don't have armature. There is no animation. We can keep this on and off. Doesn't matter because we don't have anything here, and that is pretty much it. We can now go ahead and just call our FBX whichever way we want. We can locate the file, the location for the area. And once we have that sorted, we can hit Export. So the next step is going to be moving on to substance Banner. And for that, I have myself substance Banner Version 11 opened up. I believe you can use anything that's Version ten and above. Otherwise, you might not have the same layout, especially the material asset packs. But you have a way. Let's go ahead and just grab ourselves the IBX and all we have to do is just from the folder, drag it onto the program. And that's going to prompt us with a new project file, which we're going to keep it as is. It's going to ask us for a template. Selecting Blender started assets is simply going to allow us to use normal format to be OpenGL, which is what blender uses. And document resolution we can change that from within the project itself, so it doesn't really matter. The most important stuff is that we're not using UDIMs. We're going to make sure that this is ticked off. Auto unwrapping is also going to be turned off because we have already all the US necessary. So next up, everything else is fine. We can just go ahead and click OK. And there we go. We got ourselves a brand new project to work on. So we're going to continue on with this and start the texturing process in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 31. Troubleshooting Ambient Occlusion Bakes with UV Fixes: Hello and welcome back, everyone to Game Asset creation, Fantasy Lights. So what we have now is a lantern inside of substance Banner. I'm going to be using default loadout so make sure if you don't have the same one or it's hard to follow to just use Reset UI, and that's going to reset everything up. And you should have something like this. Uh, both of the screens now are a little bit well, a little bit clustered up. We're going to click, I believe, F three or sorry, F four to get back to the main viewport like this, and we can just rotate this around, similar to in blender holding Alt and middle mouse button to pan around, using Alt and left mouse button to rotate in. And yeah, that's pretty much it. We're now going to go ahead and start baking process. So before we do that, I'm going to switch my texture set resolution on the upper right hand corner. 1024-4096. The reason being is that it's going to allow us to preview the baked resolution of our map. And what I'd like to do first is go on to baking process, essentially. So clicking this button on the top right hand corner for baking or clicking a fight, we get to this part. And what I'd like us to do first is click on this pattern over here, deselect all mesh maps and select only ambit inclusion. The sabid occlusion, we're going to bake and preview the mesh. So this is what I usually do. The first thing that I get into substance paper to make sure that when we have the mesh, everything is properly sorted. So baking this, 1024 is rather low resolution. So that's okay. We see that there is in the log an error, failed to trangulate polygons, no ear found. Not a simple polygon. So that might be an endgon or some low or small topology, but it's not going to cause us any issues. It's going to be quite alright. We're going to go ahead and preview what the baked ambient clusion looks like. So let's go return to the painting mode. We're going to click B, which is going to scroll through the upper right hand corner. For all these mesh maps, we want to basically go onto ambit occlusion. So by just clicking B, we can get onto ambit occlusion. And over here, we're going to see this type of result. It's actually quite a low resolution, but it's going to give us a general idea of where there is any issues. We want primarily make sure that there is no black spots on the faces themselves, and that's going to be the key setup. Although I am seeing some of the parts over here. Let's go back on to the baking method and now use 40 96 and bake it again just to kind of get a better preview. There we go. So going back to the pain mode, we see we have some issues. So there's always certain issues over here, there's an issue with the UVs, which, yeah, using Abt cclusion helps us to kind of identify those issues right away. The main part is being the lantern and the second part is being this part over here. I wonder why that's the case. Well, let's go ahead and fix that. We're going to go back onto the blender and see what is happening. So let's see. First things first, I want to actually see what's behind this area over here. So this is the part that was causing us some issues, and it was not giving us the right result in this area. It looks a little bit too chopped up. Everything looks too chopped up for a four K resolution in this section. So I think we just need to U V and wrap it again. Unfortunately, there's always parts like that where we need to go ahead and just clean up. Let's go back to UV editing. It's all right. It's actually going to be quite a fast process. So let's go ahead and just select this part. I'm going to actually scale it up real quick just to see what's going on. And yeah, this definitely needs to be fixed up. Let me just go ahead and do UBN wrapping with angle limit set to 82. Now we have something like that, we can move on to the lantern. Lantern was definitely giving us some dodgy setups. And I guess this type of outcome was not quite right. Let's go ahead and just UBN wrap it with an angle limit set to 85, like so, and hopefully that's going to be giving us much better result. Now, let's go ahead and just select the entire piece again. Let's go ahead and just go on to Edit mode. I'm going to thing that we could check right away would be a quick mesh cleanup operation. So let's go ahead and check for non planar faces. Firstly, we can use the lead loose. At the bottom, it says zero vertices, zero edges with zero faces. So that's how it should be. Next up, we could use the cleanup for degenerate dissolve. So this is going to remove any of the tiny pieces. So you can see that we had 61 vertices to clean up. So that was part of what the substance data was saying with the error for the log. And another option called make planar faces. There we go. So we're making sure that everything is planar, meaning that if what's it called? The vertice is a little bit too high up. It's going to not understand whether this pace is planar or not, meaning that it can even go like this or it can go like this, and we want to make sure that we basically, well, turn everything into a planar face. So if there was an issue like that, this option for mesh cleanup fixes it, and now we can go ahead and export out this mesh again. So let's go ahead and do that. Click quickly cleanup. So this one we can call it faced lights too, and then we basically go up and up and up if we have any more issues. So never use, you know, words like final because there's never certainty for a final version. And now once we have this second version, we can go ahead and just drag this back into the setup. So I'm just going to go back onto the pain mode and drag this outwards like so, and click Okay. And now it's going to give us this sort of a mesh because we've changed up the UVs. We're going to go back onto the baking. We're going to bake selected again, with just Amber clusion, just re baaking it all. And we are going to have this result. It seems that the lantern does not want to work properly, and what is going on with that? It just refuses to work. I think I know the reason why. So this part over here might be because of some hand guns or something of that sort. Real quick, we're going to go onto the lantern. We're going to just isolate the view, and we're going to see, yeah, there might be some issues with this part. So the bevels might be at fault here. We're going to just quickly select the entire piece. We're going to use Right click with the phases selection, and we're going to trangulate phases like so. Then we're going to turn triangles to quads, and that hopefully fixes any of the end gone issues which might have potentially caused any of the issues with well, the UVs. We're going to do a quick UV projection on wrap like so. This case, I am going to just move this off to the side, and when we are back into the isolation mode, out of the isolation mode, we can go onto the entire object, select it all, and then just select this little piece over here to make sure that we match up the size. So we can make it just a little bit bigger, just to make sure it has enough resolution for all the glow and emission that it's going to have. I think that's quite right. Like, so, yeah, seems right. Let's go ahead and now select it all. Go to U V Back Islands, this same setup. Si margin seems to have shifted. I always double check for that. And hopefully, we have the right setup now. Let's go and have a look. Let's go on to exporting FBX, fantasyltp Ls and see if we have fixed it. So now we move on to version three. Click Okay. And let's do a quick bake yet again. Still doesn't want to work here. So this part over here is what's causing the setup. We're having a nice triangle on the side. And in side of the substance better, we can click F free. So this seems quite right. Maybe I'm not checking the right part. I'm just going to go ahead and just make sure that this is the same one we're checking. So it's over here. We can also just locate the area. Seems like this one is the one over here. We can also locate the area by simply painting on it. So for example, if I was in F four mode, or we can use F one. Like I can use the layer, the default layer to just change up to color. Let's go ahead and just use red. We can click one and then just simply paint on this area. Sorry, the base color. So set the red on the property stab, and then we can just paint this to red. That way, we're able to see where it's at. So in a property stab, once you have selected the brush and selected this layer, you're able to go scroll all the way down to the base color, selecting whichever color you want. And that way, we can detect which part is which. And looking at this, it's a little odd. I think it's because of the way the bevels are overlaid. So if we have a look at this section over here and if we try to well, make a quick shifting age to kind of see how the bevels are interacting with one another, you can see that they are actually fine. So what's going on? Yeah, so this part of the mesh is going inwards, although it's one mesh, the vertices over here are going inwards, and that might be causing some issues. Okay. Yeah, that might definitely be causing some issues. So let's go ahead and fix that. One way of fixing it would be well to select the faces and kind of separating them from the mesh. I think that's what we're going to do here. Let's go ahead and just grab this lantern over here. Let's click Isolation mode, and we are going to use VPort shading to grab the frontal faces just like that, just to make sure that the baking picks them up nicely. I'm going to make sure that we also select this part here. We might want to use C, which is going to make sure that we can just grab the edge corner over here as well. Like so. And I think that is good. Maybe this part over here. Yep, half was missing. Oh, there we go. We missed out this part as well. So, here as well. There we go. Now that we have a selection like this, we can click Y, and that's going to separate it into a separate mesh. We're now going to go ahead and just select this entire piece, unwrap it yet again. Hopefully, her time is like a charm, and we are going to just make sure that we move this stuff to the side, we select the entire piece. We select it all or just this part over here, make it quite a bit smaller to a reasonable size. That would be the density similar to the rest, and then we can pack again with all of these wonderful settings. All right. So let's have a look if this works. Let's go ahead and make a selection. Let's export out the FBX. Everything is still the same, and this one is actually going to be number four. Now we're going to go back onto subsiper, find the FPX four, import it in with all the wonderful settings, and we can bake out the ambient occlusion. Let's go. Let's see. 32. Solving Bevel and Overlap Issues for Clean AO Bakes: Hello and welcome back over on to Game Asset creation, Fantasy Lights. And this is where we left off in a little bit of a mess. And I went over onto the layer, just quickly changed up the base color to red just to kind of locate where it is, making sure that whenever I look into this area, I could locate it within the UV shell over here. And I want to make sure that there's nothing overlapping on this end. The other thing that I did was I went into the fill layer creating a new filler over here. Then I went on to the base color and just delete this part, search for UV. There is a nice UV checker that we can use to kind of identify some of the problems. So again, in this area, there was no issue, and yet we were still having some issues with the Bake UV map. So what was happening? Well, we had an issue with the way the mesh is overlapping. If we have a look at this part, we already had this split off so we can click L, which is going to be linked based on normals or SMs. In this case, it doesn't matter. We had these parts over here. The only thing though is if I was to select mol, we had an issue of them going down to low, meaning that the part over here is going inwards, and that meant that the normal that was trying to be estimated went underneath the mesh. Causing it to bleed with the information upwards. So in order to fix it, what we need to do is we need to well, select these pieces at the top. We can hit Shift and edge to hide it out of the way. We can select the bottom pieces just like this in edge mode, like so, and I'm going to click Control I, so it's going to invert the entire selection. Then we can click Alt and H and everything else is going to be selected except for the parts of the edge. So now we can click Control and I again, and now we can use GZ and move it upwards like this. Just make sure to use global orientation, like so. So now with this, we can just simply click GZ and move it upwards until we see this kind of overlapping setup, and it's going to be much, much better. This part of here though is a little bit of a different height maybe. Let's go ahead and fix this. Like so. So just a quick little fix. This part over here actually had that same issue. So I think this fixes it quite nicely. And this part over here, I'm going to divisual it. So now we have so we also had some issues on the side being well the same issue. So I can go ahead and select this part, clicking L, and then using or actually, we can go ahead and click L on the other side as well. Oh, let's go ahead and make sure we are in phase selection. That way we can select the faces in here. And with both sides selected, we can use S and X to kind of shrink this down a little bit, like so just to make sure that we have those edges not inwards too much. So doing it like this will be better. We can go ahead and double tap A, click L and L over here, and then use the same method, except this time as Y. Like so. Now we're going to have a much better result. And we could potentially re UV and wrap this part over here because we did stretch it out a little bit, but in this case, this is going to be a metal part. Not really too interested in 10% of a change for the stretchiness. So it's not going to be visible in terms of the change. We can go ahead and leave it as we're going to go ahead and select this entire piece again. We are going to export this out as APX, and you see all of this mess of various of testing and whatnot to see what's wrong. Things can go wrong, and there are some areas where it needs to be tested out and whatnot to see where improvement can be done in order to fix some issues. And let me go ahead and tell you actually before I export this out since I'm here, I'm going to export this out as Light nine. Like so, so we go get it out of the way. We could take this to a substance pad but before doing that, I'd like to talk a little bit about what alternative things I've tested out and what could potentially be wrong with the meshes. So first things first, I'd like to mention that when we were using the modifier bubble, some of the parts were going on the inside. So you'll notice that these little parts over here happen to giving us, like, a bend. So this was connected with the part over here. And it gave us well, an inverted type of a bevel, which could also potentially give us an issue because we broke this space apart. I did not give us any issues. The other thing is that this part over here is actually, well, a separate piece of a mesh, originally, and that meant that this part was a separate piece from the part over here. So if I were to select this piece, you'll notice that this is actually going over extending from this part. From this part over here. The reason for that is because of the extrusion of this elongated piece. It's actually easier to show you in original collection. So if I was to go on to original collection, so this was the beveled setup, we can have a look at underneath it all, we have some bit of an overlapping. So this little part over here was extruded, meaning that we had a face that was, well, well hidden. And that could potentially cause issues with baking. In this case, it will not. But you could definitely watch out for that. The part would be this over here at the top. If I was to select the entire piece like so and click Shift and age, we can see that we have a section at the top like this, which looks quite right, quite okay. But when we have this well beveled off and displaced, it then starts offsetting it in a way that could well overlap the vertices and whatnot. So that's something to watch out for. I was to go back on to the lantern that we were just using this part over here. Like, so you'll notice that this section is set like this, and it could potentially cause problems with the way the UVs are overlapped. Again, this depends on the displacement intensity and the use of a bevel type of wave. In this case, though, for my sake, it did not cause any issues. So I will go back on to substance painter and get myself a new file. I'm going to go ahead and drag this inwards. Like so. We could go ahead and click Okay. And we are just going to rebake it. Ambit occlusion, let's go ahead and have a look if this time it's going to be okay. So 14 96, we can also use low poly as high polymsh which is going to preserve the face normals a little better. And let's go ahead and click Bake. There we go. We've got ourselves this fixed issue over here, so that's quite right. Now we can move on to texturing stage. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 33. Creating and Masking PBR Materials in Substance Painter: Hello. Welcome back everyone to Game Asset creation Pantsy lights. In the last lesson, we went over some fixes, making sure that we get ourselves a nice mesh setup. We're now going to continue on with this setup. And well, first things first, let's go ahead and clean up this entire layers piece. We're then going to create a baking information for all of these layers. So normal worldspace ID curvature, position thickness, they are by default in. So this should be already ticked on. If you just open up a project. And all of them are quite required, actually, especially the curvature and position, we're able to make use out of it with the procedural generated masks to get additional detail. Ambit clusionthough, is the main one that I find it personally that will show you the issues, any issues that we have within the setup. And yeah, let's just make sure that we have this set as 496. So four K resolution, let's go ahead and click Bake textures. Alright, now that we have baked everything off, let's go back on to return the painting mode and start the texturing process. So what's going on with this well? First of all, let's make sure we have the two windows like so, and we can just click F two to go onto our main viewport like this. We don't need the UV mode at this point. We can hide it out of the way. Next step is we're going to create a fill layer simply for creating a texture. The fill layer will allow us to create a basic PBR shade of material using channels for color, height, roughness, material, normal emission. It allows us to make use out of seamless textures or just base color PBR solid shaders and overlay that information with masks to create some nice information for well, the asset. We will start off by not just using channels, we will start off from the material mode. Material mode will allow us to essentially make use out of the preset materials that we have on the shelf on the default setup to well, attach it onto the fill layer and use its channels. So what we're going to do first is we're going to select material mode, and we're going to search for concrete. There are various of concrete shaders. We're going to make use out of concrete cast. More with newer materials, we have some additional information with them. And if we scroll down onto the parameter section, we're going to find the seed. We're going to find concrete color and such. And we can just click seed couple of times if we want to to have a different variation in the concrete look. We also have a color option over here. So we can just select it and just darken this down a little bit if we want to just a little bit, not too much like so make it a little bit more brown as well. So by clicking on this square, we're able to change the color. If you want, you can make it yellow or any type of color variation, and it's going to look quite nice. Personally, though, I will just make use out of more of a brownish, slightly brownish type of variation that's still relatively light because we're now going to be well, in a bit, we're going to be overlaying that with additional information. Other things that this has is concrete calibration. So if you want more intense patches that you see over here, we can use it to increase it. I personally will just keep this as 0.4 to not take out the detail from the lantern itself. We don't want this to be too noisy. It's a base platform to kind of enhance the overall lantern instead of just, you know, the upper ping is concrete roughness. So this will determine how shiny the surface is. If we want to have more let's say you want to have more of a watery look and it just rained or something of the sort, you could definitely have more of a wether surface. And if you want, we can have a little to no roughness or sorry, quite a lot of roughness and no reflection with a higher increase like this. And this will give us a very mad type of a look. But honestly, the default was quite right. Maybe we can for a stylist effect, we can just lower it down to 0.4. That's going to give us a little bit of a shininess and nice reflection of all of this detail. And afterwards, we have concrete roughness variation. So again, this will give us that nice variation. We can go ahead and increase that a little bit to make sure that there is more patches in between. You can see what we're getting over here. Makes so much of a difference the roughness variation in regards to making material more depth. So having it as a value of 0.95, I think will give us quite a nice result. Like so, next up, we have cracks. So cracks is an interesting one. If we start increasing it, we'll open up a crack scale as well. And these two options will give us some interesting well, cracking on the concrete. If we want to look completely damaged, we can do so by just increasing this quite a heavy amount. And then if we want to, we can also play around with the crack scale. Personally, though, I prefer to use a crack scale that's a little bit less. So a value of 0.6 will give us smaller detail for such areas. So yeah, 0.67, that's the value I'm going to use. Now that we have a nice scale, we can lower down the crack spread. So lowering this down to a value that's more manageable. Let's say, a value of 0.4. Maybe a little bit less. Like so. We can just have just a little bit like so, and it's going to already look quite nice like this. If you're worried throughout the setup that your program is quite a bit slow, we can go back and lower this texture set settings resolution to two K, and then the program is able to upscale the resolution afterwards quite easily. So there's no need to worry about that. So we can just leave it as is with the resolution of two K, and then afterwards, at the end, we can upscale the entire project to four K with no problem. And just keep in mind that a version for two K and four K might look different when you're working on a setup, especially with the height values and whatnot over here, it looks like, well, quite a bit softer, but if we were to change it to two K, you'll notice that maybe the values or the cracks look a little bit more harsher, especially if we lower it to one K. So all that detail, all that variation can slightly change based on the resolution. All right, lowering this down to two k, let's go on and continue on with the setup. Next step is we need to determine how we can well apply it onto one section. Right now, it's applied onto all of the sections all at once, and it's nice and all, but the thing is that when we are working with object, we want to be set with multiple materials. And in order for us to do that, we could create ourselves a mask onto this fill layer over here. However, if we were to create it like so, it's going to potentially cause us some issues because we want to make sure that the masks that we are creating are also going to be just applied onto the slabs. So we want to have some edgewa and whatnot, we want to make sure that it's specialized just for these slabs, and for that reason, we're going to create ourselves a folder, which will include a mask. So that will allow us to basically create anything that's within a folder, is going to be affected by that mask. Once we create a folder by just clicking on this button over we can go onto the fill layer. We can just drag and drop it into a folder and you can see that now it's within a folder. We can use this icon over here to open and close this folder. And afterwards, we can select back onto this folder. We can click on this mask over here, mask icon, and add a black mask, which will remove anything that we had. So the reason this is happening is that mask will allow us to basically take anything off or add details of whether it's fill layers, whether it's Edgeware, whether it's custom stamps. And just basically is going to work sort of like opacity. So imagine like an Alpha channel or whatnot. This is what allows us to basically tell if it needs to be applied on an object or not. So everything that's right now within this folder, it's going to have a black mass, meaning that there's nothing that's being applied. But if we want to, well, add it onto the slabs, what we can do is simply use this icon over here. Sorry, not the second. Polygon fill, there we go. That's the option we're going to use. We can also click four, two selected. So we can use shortcuts one, two, three, four, like this to basically scroll in between them. And yeah, by clicking on number four, we're able to select it, which will give us a polygon fill or sorry, this is the tool for basically filling out a mesh. It is the most usable item for, well, separating materials, and let's just make sure that we change the film mode. We have triangle fill, polygon fill, UV chunk fill, which is going to sorry, which is going to fill in UV islands. Most suitable one, though, is mesh fill. If we were to select this, we can just select each one of those pieces individually by tapping on it, making sure that the color is set to one. And if we want to deselect it, we can simply change the color to zero and select it. Alternatively, we can click X, which is going to switch from one value to another. We just need to make sure that the value is not set in between because when we're changing it, it's going to flip to the out side like so to the alternative value. So we just need to make sure that it's set to either one or zero in order to make use out of X, just to make sure that the value is either taking it or removing it. So with the color set to one and selecting all of these planks, not the planks, slabs, we can have a real nice selection for a concrete base. In order to not see this mesh wireframe, we can click one and just make sure that when we are in a paintbrush, we're not going to see any of those wireframe items. So when it's in polygon fill, we're going to see that. When we're not, we're not going to see that. So that's quite nice. All right, so that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 34. Adding Edge Wear and Dirt with Curvature and Generators: Hello. Welcome back, everyone to Game asset creation fantasy lights. In the last lesson, we left ourselves off with a nice fill layer placed right in the folder, and it's being masked out for the base of the mesh for these little tiles over here. We can go ahead and rename this folder. We can double click on it and we can call this slabs like so. Now the next stage is that we're going to do is we're going to make sure that selection is filler. That way, the hierarchy going to place a new fill layer right above this one into the folder. So if we click a new fill layer, it's going to overlay on top of the previous one. And with this, we can make use out of it to create some additional edgeware. So firstly, we're going to make sure that the material channel only has color map. We can disable anything else. And only make sure that the color is enabled that way, we have ourselves an option to, well, get ourselves a color that's a little bit more grainy like this. And I think the color is quite right. I think that's a good color for a nice edgewre. So with this, we're going to now create a new mask. This time, because we have the filler selected, it's going to create it directly onto this filler. The next thing that we need to make sure is that it's actually selected onto the mask. So even though we have this layer selected, within this layer, there is an option for material properties. And an option for mass properties. Make sure that it is highlighted in blue, and that's going to give us the right, well, selection. With this selection, we're going to click on this panove to add effect, add Generator. That's what we want. And with the generator, we are going to find ourselves bunch of generators. The one that we're looking for is going to be curve. Make sure at the top, it says, U generator. If you're not seeing this, we have the generator panel, we can just click on this button over here, and it should give you the right setup. Either way, we're going to select the curvature and we're going to get this result. This curvature is making use out of a mask for cavity. So sorry for the curvature. So if we scroll down, we can find ourselves within the stab over here, the previously baked items, and curvature is going to be this map over here. So it's going to make use out of this generated mask to create a mask for this filaer. In order to go back from this layer, we can hit for material or at the very top there is material like so and that's just a good preview to the next thing that we can do is hold Alt and tap on the mask. And by doing that, we're able to also preview the mask directly isolating everything else. It's really good, nice little option to use to kind of preview what exactly we're doing with the mask. So by holding Alt and just tapping it, we're able to do that. By clicking M, we're able to go back to the material mode, and just like that, we're able to go between back and forth. So, with this curvature on, with this selected that is within a mask. If you're not seeing this by the way, maybe you have the main material selected, so make sure you go back onto the mask, and then you'll see this curvature. With this curvature selected, we can just scroll it down until we get a nice little edgeware. So an edgeware of 0.05 is going to give us a nice little edge on the side, so we can turn this on and off and you can see the type of difference that we're getting. And just like that, we're able to highlight some of the edges. So for this base, it's quite right. I think we can leave it as is. Next up, we are going to make use out of a new layer. So let's go ahead and make sure that selected filaer is the one over here. Then we can click on the button to create a new fill layer. This one is going to be a slightly brownish color for dirt. So something like so, and not only color, we're also going to make sure that roughness is enabled. This way, we're able to control the roughness value. We want to be dry type of mud, dry type of dirt. This kind of a look is going to be great. Next up, just like we did previously, we're going to add ourselves a black mask. We're going to add ourselves a generator, and for the generator, this time we're going to use something called dirt. This dirt mask is extremely powerful when it comes to the whole setup because if you hold Alt and click on the mask, we can preview it and see that this is what we're getting. So just by having this, increasing it, decreasing it is going to use ambit occlusion with some overlay of dirt mask and give us some real nice and well, quite a nice detail overall from just this type of mask. We're going to change this to a value of 0.8 for the setup. We also have dirt contrast, but we're going to keep it as a 0.5, the default value, like so. Then we have some options for Tribblending. So these are more if we want to, we have a better control over this setup with triplanar projection, we could use triplanar, but honestly, here, with our UV setup being so nicely set up, we don't really need to. It's not going to help us quite as much. So we're already getting a nice outcome out of this. The thing that we need to work with, though, is going to be well grunge amount. Grunge amount by controlling this, we're able to basically control how much of a mask is being combined with amber occlusion. So this one is basically just a default amber occlusion, but with the grunge amount, we're able to combine this with well dirt. By increasing this to a higher value, it just basically almost ignores the amber clusion completely. Uh, so first, sorry, first springs, first, we're going to go ahead and increase the grunge scale. This will make sure that the value is, well, smaller, the detail for the dirt. And then grunge amount, we can have it to a value of 0.21. We also have edge masking, which is going to basically tell whether or not edge edges need to be masked out or in. We can basically put this to a value of 0.6. That will make sure that the edges on the sides are being masked out a little bit. So that's going to allow us to see that um, edge curvature, a little bit better. And now we can click M and see how this looks like, and this is how it looks like. So before and after, just adding a bit of a dirt overlay onto this whole thing. Now we can just simply rename these parts. So the base is going to be called concrete. There we go. We can double click on this. We can call this edgeware and this one can be called dirt, like so. And just like that, we got ourselves a nice slab material. We can even preview it in four K if we want to. Just give it some time to load. At the bottom, we can see the loading screen. And there we go. All that nice extra little detail is visible for us. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 35. Enhancing Brick Materials with Grunge and Curvature Masks: Hello. Welcome back on to Game Asset Creation Fantasy Lights. In the last lesson, we left ourselves off with a nice slabs folder. We're now going to close this down, make sure we have the selection on the top. And this time, we are going to create ourselves a new material for the bricks. So these over here, let's go ahead and make use out of it to make sure that it goes all the way across the section. We can start off by actually finding ourselves a library. On the left hand side, if you're using the default settings, you should be able to see the library, and we are going to make sure that we are using a star assets so everyone would have the same setup, and the one that we're going to use is going to be called rock. Let's go ahead and find rock face. One is a very nice variation of, well, various rock surface. We can just simply drag and drop it onto our asset, and it's going to give us a nice little setup. Of course, this setup is a little bit, well, not quite right. Let's go ahead and fix this up. I am going to go on to 2048 again just to make sure that we have a nicer look. Or performance for the look, we're going to increase the tile. So at the top, we have ourselves the tiling. We can just simply write this in as 12, and that's going to give us this type of a look, which is going to look quite alright. Next step is that if we scroll down, we have a rock color. So we can change this to be more of a grayish setting like so, and that's going to give us a nice result just like that. Afterwards, what we can do is we can create ourselves a folder. So let's go ahead and do that. We're going to create a folder. We're going to drag and drop this rock face into folder, and we can call this bricks. Like so. And then next up is instead of creating a mask, we can make use out of another option, which is going to be this little square over here on the right hand side. If we were to click it on it, we're going to see that we have options to make use out of the object items. So in Blender, what we had is we had various objects being saved up as different little pieces. So they are not part of the same object. So you can see in object mode, we are able to select them and we have different variations. So because we did not combine them, we're able to make use out of this option, which is pretty nice. So for SARS, we can just use exclude all and then reselect the ones that we're looking for. So all of this and this one and this one and this one and this one. And I believe, c control that because I made a wrong. Selection. If you want to deselect, you can just hold Shift and deselect it. And just like that, we have all the required selection. That's good. We can now click back out of the option for the object mode. I just click back onto this part and we can see that we have everything that's required for well continuing on with the process. Let's go back onto the rock face. And next up, what we should do is we should well, we have the selection rock face. We should scroll down until we get to the technical aspects. Thise technical aspects would allow us to change up the brightness, for example, the contrast of the rock, which is pretty nice and useful, but we don't really need to do that here. We simply need to scroll down until we get to the rock height value. So we have normal intensity, we have height range, and position. So they are responsible for this noisy setup. If we were to hold Shift and right mouse button scroll around, we are able to change up the sun direction just like that. And with this in mind, we can see that the bumpiness is a little bit too intense for something like a brick. It just loses the overall, well, shape of the brick. So for Sarus, we could just lower down the height range to zero, so we can see what the normal intensity is doing. And the normal intensity, I think by default is quite right. Some materials use normal intensity a little more than others, but this one, by default, I think is quite okay. The height range on the upper hand, I think we can just increase it just a little bit to a value of 0.15. So this is going to give us a nice little setup. Keep in mind that we are also in 2048 at the moment. If I was to increase this to four K, but it's going to take a while, but there we go. That's the type of resolution that we're going to get out of bricks, and that's going to look quite nice. So that's done. Micro deetails are especially more visible on high resolution. Next up, we are going to create a fill layer, which is going to be, well, maybe slightly greenish type of tone, and we're going to lower the brightness a little bit to get this sort of a look for edgeware. That's going to look quite nice. We're going to also change up the roughness value to get more variation out of the edges to make it more separable, and we're going to change this value to 0.93, like so. Now for a mask, we are going to go ahead and create a black mask. We're going to add a generator at a curvature, just like we did previously and then lower down the intensity to a value of 0.06. This time, however, if we have a look at it, holding Alt and tapping on screen, we might notice that maybe it's just too straightforward. Maybe for something like bricks, it's just not going to give us enough details. So what we can do, once we have the curvature selected on top of it, we can add yet another item. So either a generator or a filler. So we can add a filler, which we can use as for, well, seamless grunge masks. So for this one, we are going to select something cold concrete, dusty. There we go. Crunch, concrete, dusty. Very nice little map. Let's go ahead and select it, and we can see that by default to normal is just going to replace this material. We can use this opportunity to change up the tiling, so let's change this up to a value of two. Like, so just to make sure that the resolution or the quality of this crunch is going to be just right with all the detail. And then once we have it, so we can go ahead and change this overlay from normal. So this is where we change the overlay, how it interacts with other masks. We can change this just like we'd see, for example, with Photoshop or Blender as well, like mix shaders and whatnot. We can change this one to just overlay. And this is going to now overlay with the curvature. If we set this to a value of one, it's basically not going to do anything. But if we start playing around with it, we'll see that it kind of helps us break down the pattern a little bit. And just by setting it to a value of 0.7, you can see before and after, it helps us to kind of break down the shape a little bit. And if we have a look at it, this is what we're going to have. Okay, maybe we overdid it a little bit. So what can we do about it? Well, there is an option within each part of the setup, and you'll notice that we have 100 at the side of each part of, well, the mask, as well as the mask components. Those represent opacity. We can change the opacity of ever curvature, just like that to make sure that it's not too overwhelming with the edge weare. Or we could have just done the opacity over the entire setup using this. He will work, but knowing that the curvature, just doing it so will also allow us to well, increase the overlay opacity, the concrete grunge overlay setup over the curvature, maybe using the curvature would give us more detailed type of a look. I think that's going to look a little better in this occasion. So right here is going to be quite all right. I think that's going to look quite right. We can also tweak slightly the rock face, actually, going back, just now realizing that maybe a little bit brighter like this, just a little bit more like so. Oh, there we go. That's going to give us a nice little look. I think that's looking quite nice. Maybe less brown as well, lowering the There we go. Lowering the saturation. In case you want to make sure it's exact, you could copy the text that are you seeing over here on the hashtag. This gives you the exact same value so for where to copy it and put it as a value of zero. It's not going to give me anything, but if I were to paste this in it's going to give me a nice result. That's that. Now we can well add some bit of an extra detail towards the cavities and whatnot. But we are running out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching and I will be seeing you in a bit. 36. Painting Ambient Occlusion Masks for Natural Edge Wear: Hello and welcome back, everyone to game Asset creation fantasy Lights. Make sure you just saw that now to say popped up, but make sure you to click Control Ends to save out your project, so you wouldn't lose any of the progress you've been working on. Next up, we can simply go on the top. We can just change up this to be Edgeware. And the next part is going to be creating a new fill layer. This one is going to be just pure black. People say that not use pure black color, but we're going to overlay it in a way that's not going to be just complete value for a change. That's our right keeping as this. Next up is the roughness. In order for us to estimate what kind of roughness we're looking for, what I like to do is like to well, put this at a value of 0.8, and then we can tweak it afterwards in order for, like, the cavities to actually blend in better with the material. I'll show you what I mean in a second, though. Let's work on the mask so we could actually have some variation in this material, not just a single overlay, well, of the roughness and the color channel. So next up is going to be adding a black mask, and this time, the generator that we're going to use is going to be called ambient occlusion. Amber clusion will give us a very nice type of result. Holding, let's go ahead and click on a mask to see what it does, and this is what we're going to get. So by playing around with this, we can see that it basically allows us to get well, where the Amber clusion is darker values and where it's not brighter values. Using this, we can use global invert to invert this value and make sure that we're getting more of a value in cavities. So with this, we can increase now the value and get ourselves a nice little cavity variation in between. So where the white mask is going to be is where the fill layer, which is black, going to be applied. So knowing that the mask when it's black, it's not going to be shown. White is when it's going to be shown. So Tom make up the fact that we're using black is not going to mean that this is black over here. This is just a mask. If you click M, we see that these parts over here now darkened up. So that's how it works. Going back to the mask, let's go ahead and once we get a balance of, let's say, 00.39, we can change the contrast as well to kind of sharpen it up to make sure that you're not bleeding out to value a little bit too much. Value of 0.4 is going to do it quite nicely, and we're going to get this sort of a result. Alright, so next up, once we have a nice ambit occlusion, the only thing that we need to know is that when it is closer to object, it's going to be affecting the ambit occlusion mask. If we look at it from the mask, we'll notice that behind the sign, it's going to be pure white. We don't want this to happen. It's just going to paint the wall black. So we can manually adjust that a little bit by adding a paint here, paint effect over here. So by cllcking on this paint, we're going to allow us well, we're going to get ourselves a paint information. We can then click one to make sure we are in the brush mode and I am going to make use out of the starter assets. I'm just going to delete the search bar over here, and we want to make use out of Alphas. So we just going to clear the search. All right. Within Alphas, we are going to find or was it Alphas? It was brushes. I'm going to go to the Ster content and find brushes from the filter over here. Actually, that's a little bit better. There we go. That's what we're going to find and we're going to make use out of either artistic hairbrush or artistic brushing. Both of these will give us a solid look and now we can just click X to make sure we switch between black and white. And with the black, we're going to just paint the scent. So again, black is going to remove the value like so. I'm going to actually click Control Z, and the other option that I'd like us to do is going to be flow over here. Flow is going to allow us to basically while solding, it's going to allow us to more naturally blend in the dark value of the sorry, of the brush. So the lower the value we have of the flow, the harder it's going to be to brush out this mark, basically. So setting it to a value of 15 is going to be quite alright. We also can change the size using brackets. So that's going to be a little bit better off a shortcut instead of using the scale over. And I'm just going to slightly ease in the value over here, like so. Just like that. Just to make sure it doesn't look too extreme and like so, going to be quite right. There we go. What's behind the sign is not going to be the primary focus of the setup, but it's still important to, well, make sure it doesn't catch the eye too much with the blackness, with the darkness of the color. So before, it's going to just look like it's been burned, but now it's going to just, well, be more natural of the same material and everything. So all in all, is going to look much, much better. All right, so that's it for this setup. We're now going to move on wood. So yeah, we're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 37. Refining Stylized Wood with Dirt, Edge Wear, and Fake Lighting: Hello and welcome back everyone to Game Acid creation Fantasy Lights. In the last lesson, we left ourselves with a lovely brake folder, which we are going to now continue on working from. Well, actually, we're going to move on to the wood section, but I just wanted to make sure we renamed this little section over here to make sure we we have everything nicely named up. So I'm going to go ahead and call it cavity, like so and double check the parts. Yep, all is good. Alright. Now the next up is going to be wood section. So the hardest part was basically making sure that the UVs are going flowing nicely. All we need now to do is simply find ourselves everything for the materials. So starting materials, we're going to go on to materials like so and search for wood. Wood that we're going to use is going to be stylized wood rough. This is a very nice base for a generic type of stylized wood, which we can then adjust and tweak a little bit with the colors. So let's go ahead and grab this and drop it onto the scene just like that, and we're going to get this result. Right away, we are going to change the tiling to be well more reasonable with the scale. We're going to change it to eight for tiling, and it's going to look like this. Next up is we are going to create ourselves a folder. So for the folder, we can go ahead and create a folder, like so, drag this object into the folder, just like that, and we are going to use the object selection. I think that's the nicest one to use. Let's exclude all and then select the parts that is going to be wood. Oh, made a wrong selection. Like so. So holding Alt and mouse love mouse button, we can just rotate it around and just tap it on areas where we want them to be. And that's pretty much it for the wood. Now in this section, we have a wood section where it's not going to be just wood. It's also going to be metal. So we need to make sure that we cover that up as well. Going to click back on the folder, and now we're going to add ourselves a white mask. Using this white mask means that basically every opacity is set to fully one and everything is being shown. However, by selecting onto the opacity and clicking four, we can use the polygon fill to kind of fill out the areas where we don't want them to be. So not polygon fill, not mesh fill. We're going to use UV chunk fill. So this is the one. We're going to change the color by clicking X to a zero, and then we're going to just tap these parts out like, or we can even deselect them like this. And I think that's going to work quite well. I'm going to hold Alt and just tap on the screen on the mass that is and this will allow us to kind of select the parts a lot quicker. So just like that. I think actually, we can just make a selection like so and then clicking X and just deselecting the parts in between. There we go. Just make sure that all the little pieces are selected, which they are very nice. And we got ourselves a selection just purely for the wood. All right. Now, let's go ahead and sort out this stylized wood. We're going to go back onto the material. We are going to scroll down, and we're going to start off by changing the color. So for the color, we can just lower it down to a more reasonable color value. If you want more of a saturation, we can just bring it more to the brownish color. But this kind of a result, I think, is going to look quite nice. Yeah, that is a good starting point. Before moving on, I'd like us to go through some of the parameters that we have over here. So first of all, wood roughness, so that's going to allow us to change up to shininess and whatnot, which is quite nice. But we don't need to change it. The default value is going to work quite well enough for us. We can hold shift and rotate well, our right mouse button to see that, well, the sun, the way it bounces off, the wood is quite nice for this type of stage. We also have wood fiber. So wood fiber will allow us to make it a lot more coarse, like for a dry type of wood, it's going to work much better. So we're going to increase this to a value of one. Wood variation is not needed over here. We don't want this to be too intense with the variation in color, so we can keep this as zero. There's also some additional control for the wood variation. As for deformation, we're going to also keep it as zero. We like the flow that it has, but we could potentially have it more bendy and whatnot. That would potentially look quite nice in certain cases. But having it for such planks of wood with zero deformation is quite all right. Noise density and would node size is going to control well the just a variation, additional variation for the wood. The other thing that we have over here is fake lighting. Fake lighting is an interesting one because with it and without it, you can see that it basically adds a bit of extra coloring. We can click C to go onto the base color to just kind of preview the lighting a little bit better. So without it, it's just going to be like a base color. But with the fake lighting, it's going to add a little bit more variation. We can also change up the angle, for example, if we want to add a little bit of a shadow intensity if we want to. The shadow color is set to blue by default, but we could potentially use, well, just a bit of a darker color like so, and it's going to give us a bit more detail in the grains themselves. So we're going to put it to a value of 0.2, and the upper f is the highlight color. Highlight color is going to allow us to play around with the variations in between the grains basically to highlight those grains even more, making the wood pop a little bit. So we're going to get it to a little bit nicer of a color, a bit more yellow perhaps. Go something like this will do quite well. So before lighting and after lighting, you can see how much it stands out. It's going to look so much better with this. Okay, so now that we have ourselves a nice little wood, by the way, there is a light angle, so we're going to keep it by default. It's going to affect basically the highlight and the shadow direction. But again, default value is going to be great. Next up is going to be a fill layer that we're going to create. This is just going to be a simple color variant with the curvature. We're going to change the color a little bit to make it more fitting for the wood. Something like that we'll do. Well, let's go ahead and add a black mask, add a generator, and add curvature. With this curvature, we are going to set it to quite a low value. Something of this sort will do quite well. So it's highlighting our edges quite nicely. We're now going to play around with the color itself a little bit. So let's see if we can get it a little bit to match a little better, like so. And then afterwards, I will also lower the opacity just a little bit so we could get back that default color that we had because right now it just bleeds it out a little bit too much. So lowering it to a value of 75, 76 is going to do quite well. Yep, that's looking quite nice. All right. Next up is going to be, well, a dirt mask. Let's go ahead and at that. We are going to create a fi layer. We're going to this time, make sure that the roughness and color. And also, well, let's not get ahead of ourselves. Color and roughness right now, let's go ahead and sort this out. We're going to make it a bit like a reddish type of color, darkish red. That's going to give us a nice little color variation out of this wood. We're then going to, for the roughness, make sure that it's quite high up with the roughness. So it's going to be well, quite a dry type of dirt, like so. And the upper fing that I'd like to talk about is the items underneath will still have that height information. So you see we are still seeing the grain, even though the fill layer is being applied. The reason for that is because by default, the channels don't behave in the same way for the base color as they do for up channels. At the top, we see this channel selection. So we are able to see the default channels for base color in this case, even though in the property Sab we're able to control the height, roughness and whatnot. Only able to see the base color in the way it's being blended in. So this opacity over here is only for base color. This overlay over here is only for base color. If we were to change this to height, you'll notice that it said by default to L Dodge. I think it's called Light Dodge, so light and max, I believe. Linear dodge. So this one is what basically gets added onto the height map, even if we were to enable the height, it's going to not do anything. So we need to make sure that we have a smudge or dirt that overlays onto the grain of the wood to get some way of breaking down that wood grain. So all we need to do here is just change this from dodge to normal. That's going to replace it. So in certain cases for materials, it might also be in normal. So normal also has another overlay that's also behaving the same way. If you were to change the normal value to be normal as well, that would also work like that. Next step is once we change it to normal, it's going to completely remove it. The height channel. So we can use, for example, opacity to kind of blending the values a little bit, and keeping just a little bit is quite right. So having an opacity set to 80 is going to work quite well, just giving us just enough detail out of the wood. So once we have this, we can go back to the base color to make sure we well have consistency. We don't accidentally start editing the height values. Once we have it like so, we can just simply use our lovely dirt mask. So let's go ahead and add black mask. Let's add a generator and add ourselves dirt like so. And afterwards, we can play a little bit with dirt level. We can play a little bit with the contrast. Like so. And I think the default is quite right. So before and after, you can see the way it just blends in with the areas or the dirt, and it's going to look much, much nicer. All right, so that's going to be it from this lesson. Thank you so much for watching, and I will be seeing you in a bit. 38. Aging Chains with Hammered Normals and Rust Effects: Hello. Welcome back around to Game Asset creation Fantasy Lights. In the last lesson, we left ourselves off with a lovely stylized type of a wood, which I'm going to go ahead and just quickly fix up the naming for it. So this one is going to be edgewar s and this one is going to be dirt. Like, sew, we can call the folder itself Wood. Next up is going to be metal. Metal is an interesting one. If we were to create a quick fi layer, we can play around with it. To create a metal, all we'd have to do realistically is enable the metal channel and turn this up to metallic being zero, or sorry, one. It would mean that the gloss metallic shine that we'd get would be well metallic. So that's quite nice. The thing is, though, by default, the plain metal is not quite as interesting, especially if you're doing, you know, more of medieval type of settings, more of a hammer type of look. This is not going to look quite as nice. We need to make sure we get ourselves a nicer result. So first things first, I'm going to lower this just a little bit. We have the darkness value like so, we're also going to slightly add in a little bit of a tint, just a little bit of a brownish tint, not too much, just a little bit like so, and we have ourselves a base to work with. Alright, so next up is going to be adding a way to make the metal look a little bit more hammered. So for us to do that, we are going to create a new fill layer. This time we're going to take off the color, and we're going to enable the normal. And normal has an option, well, for adding normal values. And we're going to make use out of a normal value four hammered metal. So let's go ahead and search for that. There we go. So there is a metal, the material itself. We can just apply it onto the normal, and if we apply it, it's just going to be applying only that channel itself. So it's not going to use material mode, it's just applying this channel. And right away, we can see the type of result we're getting. We're going to get these type of um bumps, which is quite nice. We can scroll down and use the attributes. Oh, no, not attributes, parameters to change up scale. So here we can change it to four, and we can change the details of detensity a little bit to play around with the overall value. Setting it to a value of 0.4, it's going to be quite right. This metal is going to be used for the chains at the top. So just having this gives us so much bit of a natural, more natural type of a look for a detail, just like that. Next up is just going to be simply adding a bit of a grunch, a little bit of an extra dirt. So let's go ahead and do that. And at this point, we might as well create ourselves a new folder. So I'm just going to hold Shift, select ourselves these two materials, and just drag them both into the folder. Alright, so next up is, well, as mentioned, the dirt, let's go ahead and create a filler. We are going to get roughness and metal both selected because we don't want the dirt to be metallic, we're going to make sure that the metal channel is set to zero. The roughness is going to be, well, quite a bit higher, so and the value for this is going to be more of, like, a grungy slimy type of a look, bit of moldy. It's going to be this kind of result, there we go. That's perfect. That's going to give us a very nice type of grunge on a metal. Now we just simply need to add a mask. So let's go ahead and add a black mask, add a generator. And this time, the generator that we're using is going to be called a dripping, there we go. Dripping rust. So this one is going to give us a very nice type of detail. We can change up the way it's rust spreading. Maybe I'm going to hold Alt and just tap on the mask like so. So we can just play around with it. So the rust is quite an interesting one because it gives us some nice detail, going to keep this to quite a low value, so value of 0.25. The contrast is going to allow us well to blend in the values, but the fault will work quite well. And let's have a look if we need to change anything over here. Maybe drip sample count would affect the quality of the drips overall, how many we're having and whatnot. You also have position x. So why being green channel means that we're basically having those drips going downwards. We could get them to be sideways, for example, if we want to. Like so. But having it positioned downwards quite okay. And just checking the last settings, I think, all in all, it's good. Again, this is going to be just purely for the chains here. I'm going to actually just a little bit increase the value over here. I'm going to click now and just see how it looks like, and there we go. We got ourselves a little bit of a rusty setup. Now let's go ahead and just simply click on the folders geometry mask, like so, detach everything and select the chains on both ends. Now we can click back onto the folder and start renaming stuff. So this one is going to be metal base. This one is going to be, what's it called? Metal hammered or hammered normal. Like so, and this one is just going to be mold mold, like so. All right. So we got ourselves a very nice chain type of result. I believe we can, well, rename this to be chain. That's all so. And I would like to slightly, perhaps slightly lower els intensity just a little bit, so make sure it doesn't look too noisy from a distance, keeps that same shine for form, and now it's looking much better. All right, so we're going to continue on with this in the next lesson. We're going to continue on with making new variations of metal. Thank you so much for watching, and I will be seeing you in a bit. 39. Texturing Lantern Metal with Edge Wear and Surface Details: Hello. Welcome back everyone to Game asset creation, fantasy Lights. In the last lesson, we went over the setup for our chain material. We're now going to continue on with the setup and get ourselves a nice base material metal for the entire setup. So for us to do that, we're going to quickly create a base fill material. We're going to get ourselves to be metallic, like so, and we are going to just lower down the gray value to be a little more reasonable something to this amount. Alright. Now we're going to go ahead and just quickly set up with well, the object parts that need this type of metal, we're going to start off by just doing the lantern over here. So let's go ahead and create ourselves a folder for this one. We're going to select this fill layer to be inside of the folder, and we are going to apply it onto let's go ahead and exclude it all onto this part over here, onto just the lantern. But now that's going to be more than enough. We can add in later when we're finished with the material. Let's go back out of the selection and start working with this metal. I'm also going to reposition lighting so I could see a little better with the bounciness of the roughness values and whatnot, how the metal shines. Next up is we're going to go ahead and grab ourselves the hammered value. So we can actually make use out of the already existing fill layer item. If we were to go back onto the chain metal, we can just select this Control C. And then go back onto the folder. Let's select the fill layer that's within the folder at the top and click Control B, and that's going to paste in this value like so. We need to adjust the tiling a little bit. We can go ahead and just change this up to be a value of scale three and the density to be to a value of just 0.1. So that's going to give us a very nice basic type of offset out the metal, which is going to look quite nice. Next up is going to be making sure that we have a right roughness map. So let's go ahead and add a fill layer. This time, we're going to hold Alt and just click on Roughness value to make sure that only the roughness is selected. That way we can control the roughness overall value. For this, I think we can use a value of yeah, 5.7. This is quite right. Go ahead and add a black mask. And this time, we're going to instead of creating a generator or paint, we're going to use fill layer. Using fill layer, we're able to, well, make use of the fill layer with a certain mask to get a nice variation. One of my favorite masks that we can use is called cloud. So there's clouds one, two, and three. And they all are quite nice for getting a nice little noisy texture. We're going to use a value of one. I'm going to hold Alt and just tap on a mask so we could actually see what we're doing here. So by default, this tyling is a little bit too small. We can click two. On the tiling and get this more variation. We can also scroll down and lower down the balance, so we get, well, a little bit more breaking up in terms of black and white values, like so. As for the contrast, we can increase it a little bit as well to get this sort of result. And I think that's pretty much it actually. Let's click M and see what we have, and this is what we're having now. So if we look at the areas where the mask is, for example, in this area over here, we'll notice that now we have some spludges and some smears a little bit on the metal. So it's already looking like a more established type of metal. We didn't need to do that on the chains because it's such a small piece, but for here, it's going to help us out tremendously. Next up is going to be a height map. I'm actually going to make use out of this opportunity and call this metal base for the original piece. This one can be roughness, we're just naming it up real quick. Like so. Okay, so for the next piece, we're going to create a new fill layer, and this fill layer is going to be used with height value. So holding Alt, we're going to tap on a screen, and now we have option to change the height, but it's not going to change anything because, well, we're changing the whole value all at once and it needs to have some variation. So starting off, we're going to just lower the height value. So when we are applying a mask, we can see what's happening. And next up is going to be adding a black mask, adding a filler that's going to be Cloud one. So with this cloud one, I think we're just going to keep it tiiling set to one. We can lower the balance just a little bit like so, and that's going to give us some nice variation types of how broken resample the metal looks like, as you can see. And we're going to just keep it almost the same. Value of 0.47, that's quite all right. The thing that we can do is make use out of another mask, so another fill layer. So this is now being applied on the same mask. So on top of this mask of clouds, we're going to apply another cloud mask. This time, it can be a clouds free. So another noise. And you can see that it right away, overlays it with this information. We don't want this. We want to make sure that it is processed together with the previous mask. So we're going to use an overlay not overlay. We're going to use multiply type of well mix. And that's going to basically say that whenever there is a darker area, it's going to remove the mask from the bottom. So if we set it to a value of zero, we can see that it basically removes everything. But once we start increasing this, we can see that it basically overlays a mask on top of one another. And if we set it to one, it's going to be white, and that's not going to affect the mask underneath. Oh, yeah, we can just use it as a value of 0.5 with this default setup to just make sure that we break down the surface a little bit and get a more unique shape out of this entire well height value. Now we can just tune in the height parameter a little bit like so, and we can get ourselves a nice little setup just to kind of help us break down the shape of, well, this mesh, to make sure it's not too straight. While solding shift, I believe, yep, we can just lower this with a more of a fine tuning, holding shift and left mouse button helps us to fine tune it a little bit, using a value of -0.08 is going to do quite wellloing. We can see that it's looking now like a nice little metal. That's looking quite right. We're going to double click on it and call this height. Like so. Next up, we have a well, edgeware. Let's go ahead and click on a filler. Let's go ahead and change this up a little bit. So we have color, which is going to be a value that's closer to white, just a little bit closer, maybe a little bit of a yellow tint, like so. Then we need a metallic to be set as zero. So we're just going to create a dirt type of surface, a little bit of grimy type, and we're going to get ourselves to roughness as well to make sure we have some roughness variation. The roughness value is going to be more towards the shine because the metal surface is quite smooth. If you apply, like, a smudge or like slimy type of material on top of already smooth material, that's going to lower the roughness value, basically. So it's going to look a little more believable. Right now that we have this type of setup, I'm also considering to add a height value as we did previously, but I don't think we need it. It has such a minimalistic height value that it's going to look quite right without needing to adjust that, so that's going to be okay. Let's go ahead and add ourselves, well, a black mask. Let's add a generator, and this time, we're going to make use out of metal edgeware. Metal edgeware is quite nice. It allows us to well control a nice little edgeware around our surfaces. We can lower this down to a value of 0.646. Contrast, we can leave it as is, and that's going to give us a quite nice type of look. Maybe I'll increase it to a value of 0.48. There we go. That's looking quite nice. I'm just checking if there's a need for anything else. I don't think there is a need for that. Looking at the default setting is looking quite right. Maybe I'll lower down this opacity of the mass to a value that's more fitting. So value of 80. We can also click on this value over here to change it. So there we go. And that's looking like a nice little edgeware that I'm quite happy about. But maybe looking at it, we might need to break this down. So holding Altm is going to select it and see how it looks like. And yeah, it might need to be broken up. So like we did previously, we're going to add a filaum. We're going to get ourselves well, clouds one this time, change this to multiply, and we are going to use this value to well play around with contrast, especially and balance. So getting it to a value like this will help us to break down the surface a little bit. So before and after, much, much nicer. And now realize that the white edgeware is not going to be quite as visible, so I'm going to increase the value underneath, and there we go. We're getting a nice little edgeware going all the way around like so. We're still left with one more layer, but I think we're running out of time, so we're going to continue on with this in the next lesson. Let's just go ahead and rename this real quick as Edgeware like so, and, yeah, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 40. Customizing Metal Variations with Mold and UV Masks: It Hello, and welcome back, everyone to Game acid creation, Fantasy Lights. In the last lesson, we left ourselves off with a nice base material for a type of a hammered look or metal. It's going to look quite nice with this medieval overall vibe. We're going to now add a little bit more of an extra dirt, a little bit of extra that. For that, I think we can just go scroll all the way down to the chain metal. We can just copy the mold that we already had, like so, and start working from there. So firstly, I think the color can be a little bit different. It can be more towards the brownish part. Like so. So we get a nice look, making it look more grimy, more rusty perhaps. And for the roughness, the thing is going to be right. Metallic, we don't really need metallic value on this because, well, if it's a metallic rust, I don't quite like this type of shine. I think it just darkens it unnecessarily. So we're going to not do that. And we're going to actually lower this opacity a little bit by ten to get this type of result. So it's already looking quite nice for us. I think that's going to be pretty much it. We can now go all the way down to the base material, for example, and even if we want to, we can change up the lightness of this metal. We can have it a little bit lighter if we want to, maybe even towards a bit of a tint, as well. There we go. So that's looking quite nice. Next up is going to be another variation for the metal. So if you remember previously, we had three variations of metal. It was, well, for the chain, for the lantern and for additional detail. So let's go ahead and create yet another metal for that. So this one is going to be just cold metal. Like so. And now we can actually make a duplicate out of this. So let's go ahead and select this folder, click Control C, Control V, and it's going to create metal one. We can call this one metal dark, just like so. This metal needs to, well, first of all, change up the item that's being used. So let's go ahead and tick this off, exclude all like, and we're going to just start by selecting these bolts on the side and maybe these bolts as well. Since they're going to be used for so much smaller type of pieces, we are going to adjust some of the parts. Firstly, the mold. This is too much for such small pieces. It's going to take away from key areas of itself. So I'm going to just lower this down to a minimal amount. I might even increase, where is it? The contrast and lower the drip sample amount. So just minimalistically, so value of 0.02, is going to do us quite well. Next thing that we'd I'd like us to do is just go to the base color and darken this down. Like, so, there we go. Just a little bit darker but not too much. It's going to look so much better. I'm also going to go all the way to top and just change this to be also including the bolts on the side as well for this folder, so we understand actually how it looks like with these parts. There we go. It's looking quite nice. I'm quite happy with this. And yeah, just going to double check if the ones that were needed are selected. So all of these bolts are selected. These at the top are also selected. These over here are selected, and we need to select these parts over here. Well, this way, we have ourselves a nice selection going across, like so, and the rest of the metal is going to be well, the previous metal. So let's go ahead and make a selection for that. Let's go ahead and just click on this button over here. Select this metal, this metal, this metal, and I think this metal over here, but we need to deselect the wood. So let's go ahead and make a selection like so. It's going to look a little bit off. That's okay, though. We can just go back onto the metal, and now we can just apply a white mask. And with this white mask, we can deselect using UV chunks, all of these UV parts or the wood. Like so. All right. We can also do the same kind of setup for masking, not only for the folders to kind of remove the selection, but we can also do that selection for the front over here because I think it's looking a little bit well too hammered up. We need to add some details with, well, the lettering and whatnot. Let's go ahead and remove some of that detail. We can do that by going onto the metal, we can find ourselves the height value over here, and we can apply onto the mask paint. By applying the paint, we can just click four and select the fill mode BV chunks. We can have the color black, click on it, and that's not it, actually. Sorry about that. Oh, yeah, that's not the height I'm looking for. The hammered normal, that's the one I'm looking for. I'm going to apply a white mask. Then I'm going to apply paint, like so. Although we can do it from the mask itself, it's better to do it from here. The reason being is that once we deselect it, like so, that hammered effect, it's going to allow us to then just use the opacity to kind of tune in the amount. So just a little bit lowering it. Like, so it's going to work quite nicely for us, just like that. Alright. And let's not forget about this little chunk over here. I'm going to go ahead and just use a dark metal for that. I think it's good to be a nice little variation for this little piece. Just like that. I notice there are some parts over here or the drippness which I'm not quite happy about it, honestly. I'm going to go ahead and probably take that off from here. So just double checking which it is. You can add a mold, paint mask, like so, and just remove it from this object entirely, just like that. It's going to look much, much better, although we can lower it just a little bit, get some bit of an extra variation. Like so. Alright, I think that is a pretty good place to stop. Thank you so much for watching, and I will be seeing you in a bit. 41. Creating Glowing Panels with Multi Layer Emission Masks: Hello. Welcome back, everyone to Game Asset creation, Fantasy Lights. In the last lesson, we went ahead and created a nice setup for the metal. We're now going to continue on with this design and make sure that we get some nice emission out of the setup. So for us to do that, we're going to create a new fill layer at the very top. We're going to create a folder, and we're going to put this into the folder. Next up, you'd like us to do is to use this fill layer to make sure that it's nice base setup. So we're going to basically turn off the roughness, height metal, normal emission. Going to basically remove every single detail that we had previously for this metal because it's just easier to mask it out as we have it right now. So in the height channel, we're going to change this to normal and we're going to change the normal to also normal. That's not going to change anything. The reason being is actually because this is inheriting the value overlay of the folder as well. We also need to change the folder setup just like that. Now it's going to remove all the data, which is exactly what we want. We're going to double click on this folder and call this emission. So we're going to now right click and add a mask and using this mask, we are going to color in these panels just like that. I think we are inside of the mesh. Yes, we are going to click Control Z to make sure the mask is being applied on the right areas like so. Okay. Next up is we're going to start off by making sure that this filler is set with black emissiveness, like so, and we are going to change the color as well. So the base color is going to be black as well. The reason being is that when using emissiveness, Actually, sorry, the roughness is also going to be quite high. When changing the emissiveness, if we have a strong light source or something, the base color is going to shine through. So for example, if I was to have red over here and my emissiveness then gets, like, green, we can see that it's not exactly red, but it's just slowly changing so that can interfere with the overall color. I'm going to go back and change these values back to the original what I had before. So it's a nice base before we start adding any of the detail. Okay, so next up is just simply adding a filler. This is going to be just an emissiveness, base color. So we can just create a nice orange type of a value. I'm not going to put it all the way to a value that's high up, but value that's close to the top, like so. And one thing to know is that this is not going to be exactly the same intensity as being shown over here. When putting this emissiveness back into blender, we're going to increase the intensity to make sure we get a glow out of it, meaning that the colors are going to be well increase. So if we have something like this, it's actually going to be increased to this. So the density is going to go way up above. So it can go in subspin cannot go higher than one, but in Photoshop, we can increase that value. All right. So with that being said, we're going to have a default value like this. That's quite all right. And next up, we are going to create another the layer. This one, while soldingld, we're going to change it admissiveness and get ourselves more of a yellow type of a look like so. And with this, we are going to use ambit occlusion. So let's go ahead and add a black mask, generator and a ambient occlusion. Using this, we can lower this down and see that. Hey, we have ourselves some bit of an extra depth now. So that's quite nice. So we're going to lower this down to a reasonable amount. 1.14, 0.14, sorry. And it's looking quite nice. The only downside is this area over here. So this area is being set because the ambit occlusion is picking up this distance over here. One way of fixing it would be through the baking, if I was to just go to the baking to show you the setting that would be responsible for this. So it would be max occluding distance. If we were to change that, it would allow us to get a nice little gap over here. But just like the sign, we have an alternative. We can just paint in the value manually. So I'm going to add a paint value. I'm going to have the same brush as I previously had, which is going to be if I was to find it, so Alpha dirt. Just a quick reminder, I'm going to change it to brushes for star acids. This one, we can just make use out of it with a low flow and we're just going to paint in some values manually over here just to make sure that we are getting some results out of this area, like so, and that's just going to match it a little bit with a less opacity, something like that, it's going to be quite right. We might even want to just plug in the top a little bit, as well. So that's looking quite nice. All right. Now, once we have a mask like this, we can add another layer. So on top of this, we are going to have yet another emissiveness. And this emissiveness is almost going to be white bit of a yellow tint, the brightest amount, basically. Something like this will do quite well. Maybe a little bit more to the right. There we go. This type of yellow Yep, like this. Perfect. So once we have something like this, we can go ahead and manually paint in the layer. So let's go ahead and add a black mask. Let's go ahead and add a paint. And using this, we can just simply add in some additional highlights. Like, so Oh, just like that. So it's going to go ahead and give us that bit of an extra glow. We can just remove this part from the top if we want to. Like, so don't be afraid to have a little bit of messy result. It's quite right. All in all, it's just going to look so much nicer. We're going to lower the opacity, by the way, so don't be afraid to have intensity, a little bit more extreme. And over here as well like so. Alright. Something like that. It's going to work quite nice. Let's go ahead and lower down opacity a little bit to more reasonable amount. And that's going to look quite nice. Maybe I just want to be having it a little bit of an extra here. Maybe we can go back to the paint value behind it and just kind of remove the thickness from this area just to kind of get a little bit nicer tone. And finally, we can have ourselves another fill layer on the very top, which is going to be color set to more brownish. So we can see that it changes the color of the emissivenes a little bit even. Anyways, we're going to change to a little bit more brown, and the reason we're doing this is because we are also going to enable emissiveness. With this, we are going to set ourselves up with dirt layer. Let's go ahead and add a black. Let's go ahead and add a generator and add ourselves a little bit of a dirt level. So we're just going to have a small amount. This is going to be quite alright. Let's have a look. Maybe we need to increase the grange a little bit. There we go. So that's looking quite nice. Of course, naturally, this default is a little bit too much. Let's go ahead and lower this down to a value that's more manageable. So something like so, there we go. We're getting ourselves a very nice result. And, of course, this part over here is going to need some extra work. Let's go ahead and add a paint and just add in that brightness backup, like so. There you go. Something like that. We can even grab ourselves a little bit of where is it? The mint? There we go, and just tap it a couple of times to make sure it overlays similar kind of results as we had over here. Maybe we put a bit of an extra flow. Oh, too much of a flow. Like this. There we go. Looking nice. Maybe this part is a little bit too much. Going to just remove it, tap it off, like, so Alright. Okay, I'm quite happy with this result. So we can go ahead and now rename these parts. So as a quick summary as well. This one, at the very bottom, we used it as a base, so it cleared everything up, and then we used first or emission one, then emission two. And emission free. We use three different emission layers. If you're curious why we didn't just use paint, we could achieve that same result with just a paint brush over here instead of just using filayer but using filayer with just overlays like this gives us an ability to essentially create a non destructive workflow, which is, in my opinion, much better. So a way, we have ourselves an emissiveness set for this lantern. This is not going to have a glo just yet or anything of the sort, but we will work on that and just realize from a distance I do want this space to be a little bit more a little more like this. That's too much. Let's go ahead and just lower this down a little bit. There we go. Something like this, there we go. Much better. Okay, that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. Oh 42. Stamping Decals with Anchors and Radial Symmetry: Helo. Welcome back, every on to Game Asset creation, fantasy Lights. In the last lesson, we left ourselves off with a lovely emission setup, which is going to look a little more glowy once we get it into blender. If you want to see a little bit of emissiveness, you can make use out of display settings. And within here, there is an option for active post processing effect, and using the layer, you should be able to get yourself luminance. So let's go ahead and have a look. We're going to change the shape to bloom. Like so. And with this, we get a nice setup. We just need to lower the exposure for the environment. If we were to lower it, like so, we would be able to see this a little bit better, just like that. So we have that nice bit of glow, like so. But let's go ahead and simply take this back to the exposure that's normal because it's not going to give us much control in regards to the setup. And let's go ahead and simply add in some detail in terms of, well, the stamping. What I mean by stamping is that we can go ahead and go onto the bricks section over here. We have a nice little section that we'll be able to use it to add, well, some nice carvings. So at the very bottom, we can find ourselves rock face. And right above rock face, we're going to create another fi layer. This time, it's just going to be holding all ten just clicking on the height to just get a height channel. We're going to set the stone minus 24. Sorry, -0.24, like so. And now we can create a black mask. And on top of this black mass, we can add paint. And now we can find ourselves some Alpha. I Alpha channel, within the start on assets, we can find a variety of different little variations. We can make use out of them to create well any variety that we want out of the setups. I'm just looking for a specific little one that's a circular this one over here, Celtic. It's going to look really nice. Let's go ahead and select it and we could just make this larger. We could make the flow larger as well to 100. Then the next thing is for consistency within a detailed stab because of the previous brush. We would need to change back the ditter and the size, so it would give us the same consistency throughout. Then we can just make it smaller and stamp it on. Like that, we're going to get ourselves a basic stamp, which we would need to change up a little bit. But let's go ahead and firstly talk a little bit about how we can improve this B by default, this is not going to be quite as nice. If we go to color channel, um, base color. It's not going to affect the texture itself, so it's not going to blend in quite as nicely. It's just going to affect the height value. That's not the right way to do it. We need to make sure that it's being affected with the well, the curvature, edgewar and whatnot. For us to do that, we need to add an effect called anchor point. So once we add ourselves a mask, we can use this mask to create an anchor point. And before doing that, though, I would recommend you to change the fillers name so we can call this decal. I'm just going to keep it in bold letters to make sure that we have them. We're able to easily find the decaled section. And once we have this created, we can create an anchor point, and that's going to inherit the name. We can also change it from here by the way, so that's totally fine. And with this anchor point, we can find ourselves back onto the curvature. So if we scroll up, we can select the curvature of Edgeware. We can use microdetails. Those microdtails will allow us to make use out of microhight and micronormal. Microhight is the one that basically allows us to use a mask that's zero to one, black, white mask. Micronormal would be the normal type of mask. So what we use, for example, for the hammered metal was normal, and that was giving up us that purple look. So if I was just to show you purple. So it was giving us this purple type of variation for a mask to overlay it. This would allow us to use micronormal, but we are only using microhight and let's just make sure we scroll down and select micro height anchor point. So we can now find ourselves micro detail, decal mask. This anchor point always needs to be underneath the mask that we're using it with. So that's why we created this filler under the edgeware. So it has to go underneath that. And once we select it, we're going to have ourselves this type of a look. So it's looking quite nice, but we can make it a little bit better. And there are a couple of ways of well, working with this. One way would be to use levels to kind of help us get contrast, or I'm going to just reset it. Or there's also another option at the very top, not very top, just a little bit higher the curve intensity and height details intensity. So we can make use out of this to kind of control much how intense this mask is going to be. We can also just go onto the mask holding Alt and just kind of visualizing a little bit better. So let's go ahead and do that. And then I'm just going to lower down this height intensity so we'd get a just a little bit, like so, a tiny little bit, whilst not changing the curvature, keep in mind that global balance will also affect this. So if I was to increase this, it's going to make it disappear or make it appear a bit stronger. So just letting you know. And yeah, with that in mind, we have ourselves a nice little setup, which is now giving us part of the texture blending in. So with that setup, we can go back onto the decals. We can go onto the paint layer and I'm going to click two to go onto my eraser, just erase this out and make our lives a little bit easier. We can make our lives a little bit easier by clicking one, going onto the brush mode. And now instead of just brushing in this one section, we want to do it all at once. How can we do that? Well, in the section at the top, we have options. So we click on this arrow, we can basically scroll between them like this and we want to enable symmetry. Symmetry by default is going to be X on X axis. So it's going to be on just two ends. We want to make sure we change it from mirror symmetry to radalsymmetry, and we are going to change the angle span to 360, so make sure that it goes all the way around, as well as the count 24, so it's going to touch all the axis. Now, we're going to also click Show axis like so, and that's going to show where exactly the symmetry is happening. So it's going to go through this angle, which we don't want. We want to make sure it is going Ru mirror X, no, mirror Y. There we go. This is going to go for the top. Now the thing is that we might need to adjust the upper section, so it might not be completely centered. We can go on to holding Alt. We can just move our mouse like this. And while it's holding Shift, it just snaps to the top down view, and to make sure that the perspective is not kind of offsetting where we are looking, we're going to change the perspective view to orthographic view. And I'm going to click F to make sure it repositions my view, my camera. And then we can simply offset it using the settings over here. I'm just going to position it a little bit at the side. And perhaps we want us to go a little bit more to the right, left holding shift, we can just slightly tweak this little dot over here to make sure it's right in a center or as much the center as possible. Honestly, though, I think this is quite centered, as centered as it can be. And let's go back out of the orthographic view before we get ourselves dizzy, and we should be able to click on the middle over here and get ourselves all of this information throughout other parts. And using this setup, we can also add, well, additional decals. Let's go ahead and find ourselves some bit of an extra of a look. Let's see what we can do about it. We can add some crosses. We can add some various different parts. I'm wondering which ones are worth it to add. Let's say we want this hexagon. That's quite nice. Let's go ahead and select it, and we're going to get this. We can ever rotate it using Control and left mouse button, or for more accuracy, we can change up in the property stab angle over here. So I'm just going to just get a general direction changes to 180, and that's going to just make sure it's completely straight. So now I'm going to click on one end and another end. And hopefully, that's going to be straight enough. We can click Control Z if we need to mix it up a little bit. There we go. I think that's going to look quite nice. I'm quite happy with this result. So that's going to be it for me. In the next lesson, we're going to learn how to set it up with metal. So thank you so much for watching, and I will be seeing you in a bit. 43. Stylized Metal Textures with Custom Text and Decals: Hello and welcome back everyone to Game Asset creation Fantasy Lights. In last lesson, we left ourselves off with some nice decoration on the bottom. Feel free to add more decoration out like the bricks and whatnot, if you're up for it. But now we're going to move on to the metal part over here. So this metal can be well, it looks quite nice. I'm going to straightaway just turn off the symmetry because otherwise, we might forget about it. We're going to scroll all the way to top, close down the bricks folder, find ourselves to metal that's being used for this main panel, go into it, and we're going to do the same process actually as we did before. Find the bottom metal base. We're going to add a fill layer, going to change this to height. We are going to change the height to a value of, let's say, -0.13. That's going to be quite right. And on top of that, we are also going to be changing the color actually. We want to make sure it darkens it into when it's being dented in, so it gets more depth, not only from just the height, but also well from the color as well. You can imagine that the grunge would be placed into the crevices and whatnot. So it's going to just highlight that extra piece. We're going to lower this down to let's say this amount. That's quite reasonable. We can adjust it in a bit if needed. And once we get this type of result, we can now change will co back to the channel base color. We can now change the name to be PCL. We can then change the black to black mask and use this black mask with paint. Like so. And now we're going to go ahead and add in some text. So for the text, we can actually write in custom text in using Alpha. We just simply need to search for font, like so. Or sorry, we don't need to use the font. We can just click on this icon over here and get ourselves all the necessary fonts, and one of them we can make use out of. I think we can make use out of the courier font. So this one over here. So once we have this selected, we can, well, double click on it. Doesn't seem to want to change, so I'm just going to take off Alpha and just place it in manually, like so. All right. So once we place in the Alpha, we're going to have ourselves text parameters. We can type in the text what we want. I'm going to just write in Barro Manson because I think it kind of looks cool. Holding Shift and enter, we can put it on a new line. Like so, and we're going to get ourselves this. It's going to be inverted. Well, because previously we changed up the angle, so scrolling up, we are going to find the angle area. There we go. We're just going to keep it at zero and now let's go down because we see that the text is the right way. Scrolling down, we have some additional options. We have alignment. Let's go ahead and make sure it's set to middle. So it's going to give us this kind of a result, and I think we can just make it as big as possible. With the scaling and maybe a little bit smaller. Like this will be quite right. We can tap on it, and it's going to give us this type of result. So let's see. It's going to be quarter. I think it's going to be quart. Next up, we can add some additional details. So for example, if we want to add some font stamps like we did previously, I do recommend to create a new effect for a paint. And this way, when we are working with multiple paint layers, we can just stack them over. So the bottom one, we can, for example, change the opacity. If we want to, we can do that. And the top one, we have it separate. That's not going to be affecting anything that's for the text. So with this paint, we can go ahead and go to the top and find ourselves some, well, additional stamps. Let's go back on to the Alphas and we can start off by getting ourselves a lovely arrow like so, and just place it up just like that. And the base, we can have ourselves something nice as well just to help us break the shape up a little bit, maybe a little smaller. So just a little smaller, so making sure it's nicely centered. I think it's quite nice. There we go. Alright, now that we have this, we can work with a little bit of an extra information. Right now, by default, it's going to just use simple mask, which is going to give us those straight and sturdy type of edges. We don't want that. We want to make sure that we have some, well, edgewar, some additional depth to what we have over here. Ovid, it's not going to look as natural to this hammered up metal. So what we can do is we can add ourselves a filter for a lured slope. Blurred slope is a great tool to help us break everything down. This is too extreme. We want to lower this down. So we can just lower the intensity like this, and we can see that the closer we get to zero, the closer to original we get. If the intensity is a little too much, we can change the intensity divided to be well to 100, and then we can see that now the slider is a lot easier to control. So we're going to set it to a value of 0.18. Like so, that's going to give us a nice way to break up the edges a little bit, just like that. And afterwards, of course, we are going to now add a, where is it an anchor? So by adding an ankle, we're going to get ourselves a decal anchor point. And that's going to be quite right because now we can go on to Edgeware that we had previously. So let's find ourselves the edgeware for the metal. This mask is going to be almost similar to what we had previously, except it's going to have a little more control over the input. So we're going to go back down to micro details. We're going to turn on micro height, and we have a lot more options. Let's go ahead and just apply the microhight first. So anchor points, we're going to have two of them, and one is going to be from the previous. The other one is going to be, I believe this one is going to be from the one that's over here, I'm just going to make sure that it's nicely separated. So just going to change the naming a little. So. And that's going to also change over here. Hopefully, there we go. All right. So now that we have it like this, we have some options. We have curvature tie because it's using no amber occlusion, but curvature as its main foundation for, well, this generated mask, for the smart mask, we can have some variation for standard sober or smooth. We're going to keep it as sobo and we're going to just lower intensity a little bit. You'll be a little bit less intrusive with this wide border. I'm going to also click C to just go on to the base color to see what exactly is happening. And as for the height intensity, we can just lower this to be 0.64. Aoradius and AO Depth is also going to help us with the intensity. Although it's not quite as visible here, the edges on the side are going to be affected just like that. And I think Ao depth will amplify the radius of it. So I think that's pretty much it. We got ourselves a nice little setup. That's going to look pretty good overall. You might want to just lower it just a little bit, like so. And that is pretty much it. So in the next lesson, we're going to continue on with the setup. We're going to make sure we set ourselves up with a nice export and bring it back onto Blender file. Thank you so much for watching, and we'll be seeing you in a bit. 44. Exporting Textures and Material Setup in Blender: Hello and welcome back everyone to Game Asset creation Fantasy Light. In the last lesson, we left ourselves off with some nice detail on the lantern. We're now going to go ahead and, well, export this entire setup. Let's go ahead and go on to File, Export textures. And with Finn here, we have some options. So the output types, we have some options for that. We can use a blender principle BSF as a default, and we can even make some adjustments if we want to. If we go out onto output templates, we have some control in here to change that. So let's go ahead and just double check Blender principle BSF if everything that we need is here, so it's going to export base color, normal, which is needed to be open GL. We can see based on the color that's being purple, that this is also going to be purple, meaning that this is attached to the output for the channel. The next up is metallic roughness, emission. This is important. Some of the channels don't have emission included, but this one seems to have it attached. That's good. Alpha and displacement are not really required, so we could potentially have them turned off. And I think that's what we're going to do. We're not using any transparency here and we're not using any displacement. So if we want to make a custom variation just to kind of save our headaches a little bit, we could click on this button over here with a blended principle BSF selected. That's going to make a copy. And then we can just simply in this copy selected, we can remove the Alpha and we can remove displacement. And that way, we don't need to remove the PNG files of the item itself, and we can find it at the bottom over here, lender principle BSF copy. So now we have ourselves then set up. The next thing is that we need to set up is making sure that padding is set to dilation infinite, making sure that it's not going to bleed or not going to have some cropped edges that's going to give us some bizarre seams or something of that sort. And we are also going to change the size to b4k, so it's going to give us even more resolution. When exporting this is going to take a bit longer because the default size is two K. So when we click Export, it's going to take a little bit of time for that. Let's just make sure that the output directory is nicely set up. So I'm just going to select the folder, click Select and hit Export. And now that is done, we can go ahead and open ourselves up back onto the blender file. I'm just going to make sure that we close this down while saving. Then within the lantern, we're going to get ourselves the one we created, this one over here, and we are going to just simply get ourselves the shader up. Before doing that, let's make sure that we have in preferences add ons, we have ourselves a node wrangler. This is quite important because it allows us to save so much time whilst importing any textures. So node wrangler, make sure this is ticked on. If you don't have it, you might find it in get extension stab over here, and then it should appear within this section. Make sure this is ticked on. Afterwards, we can go on to shading. Just going to find the lantern. We can select one of the parts to make sure that it shows the lantern material. Then we can delete these previous items that we had except we need principal BSF. And once we have the principal BSF selected, we can use Control Shift and Control Shift and T will allow us to open this up. We can find ourselves detecturs. We should have base color, normal roughness, mission, and metallic. We will select all five of those. We can just simply click on this button like so, and it's going to attach everything for us. So everything is looking nice except for the emission. The emission itself needs to go on to well, it's attached over here with the color, but it needs to have some strength. If we click on selection with the volume value, it's going to look default that type of setup that we had previously. But if we were to use a brighter color, it's going to start glowing in the render view. Using a value of four is going to be quite right. We can also use a curvature. Using shift in A, we can just use RGB curves, attach it to this color for a mission, and we can just add in a bit of additional contrast for this lantern. It's going to look much better with the detail out of it. That is pretty much it in terms of the setup. We can go ahead and leave this as is and I'm going to pass it on to Neil for the rest of the creation. Let's just make sure we have this little piece over here moved as a Nav part. So I'm going to click New collection and call this. So I'll just have its own collection. We can hide out the collection that had previous duplicates, double checking with everything, and we are going to attach a quick texture onto this as well. In order to set this up with a nice little backdrop, we're just going to make use out of this already existing material. I'm going to make a duplicate called this backdrop. Like so, and let's go on to the shading panel. Winish shading panel, we can just go ahead and delete everything except for the well, let's go ahead and delete everything. We can get principle BDSF again, drag this onto the surface of the material output, and we can get ourselves a backdrop texture. So this little backdrop texture over here, I'm just going to simply drag and drop it into the shader panel, like so. And if we were to attach it right away, this is what we're going to get. So right away, we need to make sure we get ourselves a nice UV setup. We're going to go on to the UV Editing. We're going to select this in material mode. Let's go ahead and select this with the editing setup, and we can just use just a normal unwrap conformal. So the additional thing that I'd like us to do is just to make sure that we're using as much of this texture as possible. Even if it's going to stretch it out, that's right because we can then afterwards adjust this entire piece. But by just grabbing these UV parts, these vertice parts, we can just stretch it out and just have this entire piece to be more centered. Going back to the shaders, let's go ahead and adjust the coloring a little bit, as well as the contrast. We can simply grab ourselves a color so place it right in the middle and that's going to remove the entire color, but it's still going to allow us to play around with the values quite nicely. First things first, we can just drag this dark part a little bit closer, like so. And next up, we can just click on the splus symbol over here to add another color in the middle, which with this arrow selected, we can just click on this box over here and change the color to any desired color. We can make it more of a brownish setup, like so, bit of darkern version just like that, and we could just bring this a little bit to the right to kind of dull out the overall contrast. And the final thing that I'd like us to do is change up the roughness. The roughness is a little bit too shiny right now. We can change it up a little bit to be at a value of 0.8, like so, maybe a bit closer to 2.9, just like that. And finally, we can make this a little bit well, larger. This by default is quite a bit too small. We're going to select this entire piece. I did mode, we can click SX, stretch this out a little bit like so. I'm just looking at the background, making sure that this part is nicely placed. Then the next part is, I'm just going to select this bottom piece. Click G Y and stretch this out as well. This is going to give us a very, very nice type of set with the base being a little bit more stretched out and giving us a bit of a different variation in texture from the middle section to the base. That's going to be quite right, maybe a little bit too much, something like so, and that's pretty much it. Thank you so much for watching and I will be seeing you in a bid. 45. HDRI Lighting, Camera Setup, and Tone Mapping: Hello. Welcome back around to Game Asset creation Fantasy Lights. In the last lesson, we left ourselves off with the preparation for the entire setup of an asset and backdrop, and now we can finally move on to lighting. So first springs first, I'm going to make sure that my render properties have render engine set to cycles. And if we want to make sure that it's running quite fast, we're going to make sure that the device is set to GPU compute. If you're not seeing it, you might have the default preset in preferences. If we were to go into preferences, we have an option. I believe it's going to be in system. Yep. There is an option for cycles rendered device. Mine is set to quota by default. Optax is also great, so I recommend you to either use one of those or whichever option you have as an alternative. But using none will not let you use GPU for rendering. So that's quite important. Afterwards, let's go ahead and just close this down. And once we have the setup, I am going to change my viewport sample count to something more reasonable. Foti is a great preview. Let's go ahead and hit render not render. Sorry, the preview for rendering. Like so. And that's what we're going to get by default. If you're not seeing any lighting, that might be because the direction of your sky might be in a different location. Let's make sure we go on to shading tab. We change from object to world to see the world skybox texturing, lighting, and we can slightly adjust it. So the settings that I have right now for the sun size are as it follows. Like so make sure you have the same settings. If your direction of the light is not facing the right way, just rotate the sun until you're happy with the positioning for it. So right now I have it set like this and all is good so far. Alright, so going back to modeling. Let's go back to this section over here. We can then do a little bit of a well, preview to see what's going on. And the next thing that we'll need to do is we'll need to sort out the camera. We need to figure out the position of the camera and whatnot. Let's go ahead and do that. And I'm going to just add a where would it be? There we go, camera option, and it's going to place where the precursor is, so. Next up, what I'd like to do is simply, I like to possess the camera. So clicking N, while having the camera selected, we can go onto the tools option or sorry, into the views option and use camera to view. Camera to view will allow us to move the camera with the view whenever we are possessing the camera, and in order to possess the camera, we can click zero on the Numpad just like that. And afterwards with the Sin tikton, we're going to be able to move the camera around just like that. So we're going to position the camera, so it would be the main frontal section is going to be well, facing the front, and we're going to slightly make the right side a little bit more visible, just like that. Then afterwards, we're going to zoom out a little bit and get the right angle. So something like this. I'm also checking on the left hand side that the the backdrop is not ending, so we're not going to see that backdrop end, so I'm just going to position the camera like this a little bit. If you need a little bit of an extra, we can also just select the backdrop. We can go into that mode and just use Sanx and just kind of upscale this a little bit more even, like, so stretching it out. We could alternatively also move this a little bit more to the right, like so. But the thing is, if we have a look at the texture, we have a sort of a vintage view with the backdrop being centered toward the center. So if we were to move this like so, this edge is going to be quite a lot darker than the left hand side. So that's why I'm trying to make sure only do it minimalistically whilst still having the backdrop being centered in this location. Alright, now that we have a setup like this, we can go ahead and click zero to go out of the camera preview mode, and we can go onto the compositing. So for us to use compositor, we're going to use a freely Tudor compositor color correction. In order for us to install this add on, all we need to do is go on to preferences. Go to add ons, click on the Sater over here, install from disk, locate the blender add on, so it is still in zip form. We can select it, click Install on disk, and then afterwards, you'll be able to see it. So within a search bar, you should be able to type in Tutor and find Free Tutor compositor, just like Z. And make sure we have this enabled once you do within a compositor tab, you will find this little icon when you click N. So afterwards, we're going to click setup compositor, make sure that Apply recommended settings is enabled. This is going to make life so much easier because all the rendering settings, it's going to make sure it gives us a better outcome. Afterwards, we're going to get this menu with a black background. So everything is nicely set up now. We just need to render out our image. So let's go ahead and do that. I'm going to before doing that, I'm going to go into render properties and find ourselves render Max samples. So this random Max samples, we can start off with a low count if we want to have more of a preview. I'm just going to put it as 200 right off the bat to get a better outcome. And we are now going to click F 12 to start rendering the image. So this is what we're getting. And I just realized that I do want to cancel this out. So holding escape, we can just cancel out the render if we want to in the middle. We can go back to, well, something like a layout, and we can adjust the camera a little bit. So real quick, I'm going to select the camera, click zero and then GZ and just move the camera a little bit, like so. So it would be just a little bit more center just like that. Now it's going to be better. Let's go ahead and go back onto the compositor tab. This time because we created ourselves the add on, we set up well, the settings and everything. I created ourselves a tab that's freely chewed up bland craft. Let's go onto the tab. Let's click F 12, and let's wait a little bit until the rendering is finished. There we go. We got ourselves a nice little render. So we can either put this on a second screen or even close this down because on the backdrop, we will also have it within the compositor graph. So we can use Alt and middle mouse button to move this around. We can also use V to zoom out or Alt and to zoom in within the section. And using these, we can just position our image to B to the side of our controls. Now, within a free compositor, since we have the setup compositor clicked on, we already have all the presets required. For well, using all the options. And we are going to start off with the coloring. Color over here is going to affect the default render image, meaning that it's not going to affect any gloss values or any of the glow that we're going to apply it afterwards. It's a great place to start over here. We can go ahead and just lower this down until we get, for example, darker effect or we can bleach it out a little bit. So it's a great way to increase the contrast if we want to. And for this, we can use a value that's going to be like this is a great start. It's giving us a nice little contrast. We can also adjust the color if we want to using hue over here, or we can lower or increase the saturation. So because we low down the graph value over here, we're going to get increased contrast, but at the same time, the color is also going to be quite strong. So for that reason, we're going to lower down the saturation to a more reasonable amount to get, well, a little bit of that gritty type of result out from this lantern. Then we also have value over here. So value will help us to brighten or darken the entire render, and we can use this to get a bit of a darker result just like that. Next up, we have gloss. Gloss will help us to change up the reflective area. So if we were to increase this, we're going to wash out that reflectiveness like so, or if we want to make it look like it's more of richer type of roughness values, we can use this as well to play around with the settings. In here, the main reflective surfaces are metal, so we can use this to play around with the gloss and get ourselves a little better of a result. So I think something like this will be great. We can also take this upper section of the graph and lower it down, so we make sure that it doesn't reach the maximum value, and gloss is not going to be quite as extreme. So by lowering this down, we can just kind of remove that value a little bit. So we're going to have this sort of a graph. If you mess up by any chance with the graph, like so, if you had another point, we can also just click and hold and drag it onto the side. And essentially this removes that up point like so. And just like that, we're going to get ourselves nice result. Finally, we have Photoglos. We have metal glint. Metal glint is also going to allow us to well, give us shine out of our metallic values. We can use that to get a real nice and intense metal shine. And I am not going to do an extreme value, just a value of 0.05, like so, is going to be quite right. And I think we can also play around with the brightness a little bit. So brightness will just give us an overall washed out kind of color if we increase it, but if we decrease it, it's going to kind of bring out, like, the gritness of an entire image. And I find that to be quite nice. If we do it to a minimal amount to a value of minus two, we're going to get ourselves a very nice value. So before and after minus two, it's going to be really, real nice. I think we can do it a little bit more, so -2.3, just a tiny little bit more like so it's going to give us nice result. Alright, so we are running out of time. We're going to continue on with this in the next lesson. Thank you so much for watching, and I will be seeing you in a bit. 46. Stylized Lantern Lighting with Bloom, Mist, and Ambient Occlusion: Hello. Welcome back everyone to Game Asset Creation Fantasy Lights. In the last lesson, we started off with the Bland Craft addon With the lovely lighting and coloring adjustments. We already went through a couple of tabs for color management and gloss to get ourselves that nice gritness out of the result. And the lantern is already looking pretty nice. Most of the work is already done with the positioning and whatnot. Especially the skybox is doing a lot of heavy lifting with ambient lighting, but we still have some bit of work left to do. So let's go ahead and do that. The next part is going to be we don't need transmission. We don't have transparent pieces. The lantern over here is using actually, well, non transparent material, so not going to do much. Volume, we're not using volume over here, although we could play around with maybe some clouds in a foreground or something of that sort, but we don't really need it here to set up that studio type of lighting that we're going for. The main part is going to be light slash bloom. This section over here is going to give us really nice results, especially right away if we start just increasing this, we can see the nice glow that we're getting out of a lantern. It's already looking so much warmer, so much more pleasant to look at. But we have a couple of settings to go through in this area. We could play around with the bloom type. There is a nice one as well for fog glow. Fault is going to work just as well, but fog glow might be a little bit more softer for some of you who are looking for that warmth in an environment. Bloom, though, I think, in this case is going to be a little better. It gives us a nice way to break down those grated sections, those little frames, kind of bleeds in an entire blob of softness. So I think the glow turns a little more stylized that way. Next up, we can play around with, well, the levels levels is a little bit too much extreme, but it's part. So I'm going to turn it back to two. Then we have an option for graph as well as color range. Color range will allow us to well change up the glow of the color. We can change that right away to get more warm and, for example, yellowy type of color. So let's go ahead and do that. I'm going to go ahead and just get this type of result. I think that's going to look very nice, very lovely. Like so. Yeah, that's looking maybe a little bit more there we go. Nice little bit of tweaks. It's going to work well. Afterwards, we have ourselves well the graph. But before using the graph, I'd like us to increase the light range. This will allow us to well, go past the limits of the bloom that already exists. We could have used the bloom level that's increased over here, but using it, with an increased light range will allow us to use the bloom level of two whilst the graph is going to well, give us more extreme values when we're playing with them. So now we can just increase the value and make it glow quite a bit, like so, and that's already looking quite nice. All of these values is up to us to decide. I would say, though, we're just going to increase it just a little bit to something like so. Yeah, that's going to look nice. And we can also lower down the stop section as well just to kind of make sure that the brightness is not going to look like it's coming from the centerpiece, but instead, the entire lantern is glowing. If we start lowering it, like so you can see that it gets us more mid range type of brightness values instead of just getting the entire gradient position to the front. So just lowering this just a tiny bit, make sure that the entire glow is a little bit more spread out, and I think that's already looking quite nice. Next up, we have well, ambit oclusion actually. We're going to skip environment. We don't have an environment because it's more for a skybox. This is, well, a studio backdrop. This is a play on itself, an object, in other words. We don't need to use an environment tab. We're going to now move on to ambient occlusion. And with Amber occlusion enabled, we're also going to enable color. This way, it's going to give us this sort of a result. We can play around with the colors a little bit, and we could ever set it up to be dark color. Or I personally like to also add a little bit of an extra overlay for the color, so we're going to set it up with more of a brownish color. Like so. Something like this will give us a really nice result. Now that we have this type of color setup, it's going to basically go into anywhere where the color ramp is set up. And right now the default value is a little extreme. We need to make sure we tighten this up to get a nicer result. So if we were to bring this white color white mask all the way to the back, it's going to basically remove the ambient oclusion from the most areas. We don't want that. We want to make sure we're using it a little bit. So you can see by just tightening it up we're able to get some sharper cavities and whatnot. We're able to determine that shape, silhouette and everything of the lantern. So I would say we can play around with this value. So the white is going to be with a position of 0.37. That's a nice value, and the dark value can be something like so I would say. Yeah, that looks reasonable. So we're just tightening it up a little bit, and you can see before and after before and after, it gives some nice area enhancements. You can also just go in holding old like this area especially. So it just darkens the parts that have cavities and whatnot. Also, I notice that it washes out some of those darker parts, which is also pretty good. Because it's not just going to be just simple, white, sorry, not a simple just black color. It's going to give that greedy type of a look instead, which I think is going to look quite nice. Now that we are at this point, we can't go all the way down until we get effects section. In effect section, we have the options for various adjustments. So we can also do color adjustments, RGB curves, and whatnot, but this one is going to post all of those settings afterwards. So after we're done with everything, we can then do those adjustments Box sharpen is a really good one for sharpening it up. If we do it to an extreme value, it's going to well overdo it. Although I will say this, at this point, we could turn on the noiser. The noiser is often left for the last time for the last pieces because once you enable the noiser, it's going to slow down the entire process of any adjustment. So when we enable it, though, it's going to, well, remove the noise of everything including the box sharpen type of um the noise that it generates. So that's quite important. For post processing, you might as well just enable the noiser and right away, we're going to get these kind of results. But even so with the noiser enabled, you can see the type of effects before and after, especially for these parts over here. If we have a look at it, around the nails, not the nails, the bolts. It sharpens everything up quite nicely. So it's going to look really, really nice. So we're going to use a value of 0.1, just like so. And on top of that, we're also going to then soften it. So not only the nois is going to soften the result, we're also going to soften it manually as well. Using this value, we can basically make sure that box sharpen is not going to overdo our entire soft stylized result that we're getting from, you know, the lighting and everything. So we can just do a value of 0.2, and that's going to give us a very, very nice result. Like so. Alright. So next up is we have the effects ready, and you might think that's it. But we have one more tiny piece that we left out, and that's going to be mist. I decided to leave the mist out as a last thing because, well, mist it is going to affect an overall coloring and whatnot, but mist is great for depth creation. So right now, for example, have really nice type of depth that's well, flat, quite flat, actually. You can see all of the detail of the studio backdrop, and it's a little bit too much, especially for this area over here because you can kind of lose some of that silhouette detail by just overdoing with the noise. Using mist by enabling it, we're able to get some real nice results, and we're able to just apply washed out color for the background. So first things first, we're going to change the depth to be zero to 25. That's going to be pretty good for such a setup because, well, cameras quite close. The next step is we have, well, color ramp, which we can use to play around with the setting. So right away, you can see the type of, um, result it's giving us basically by increasing this white value, we're able to get fog more from the back to the front, just like that. And I think this is pretty good. So we can just decide on the type of result that we're getting here. And something like this will do great because after the first part of the mesh, it then starts to kind of ease off into the background. We only need to adjust now the opacity. So in order to adjust opacity, we're going to select a white arrow and we're going to change the color over here. So by lowering it to, for example, black value, we get this result, and by increasing it, we can just wash out the background a little bit. Like so, although I would say can also just bring back upwards the black a little bit and this a little bit more to the right. Just like that. And I think we're going to be quite happy with this result. All right. I'm just going to zoom out, check real quick and see if it's right. Yeah, now the background is a lot more separated from the foreground, which is very good for us. I think we are pretty much done with this result. So that's going to be it for me. Thank you so much for watching, and I will be seeing you in a bit. 47. Animating a Camera Orbit with Keyframes and Linear Motion: A Hello and welcome back everyone to Game Asset creation fantasy Lights. In the last lesson, we left ourselves off with some nice compositor settings. All of it is already set up. And if you do want to reuse them, these settings that we have, we can go on the presets and click on the plus symbol over here to save this, then just simply use Export Selected preset, and that would allow us to, well, use this preset. I think we also need to make sure we double save it over here, although by default, this should save out the plus symbol, but you can never be too sure. Ways, going back to the lessons, we are left with one more thing. So now that we have everything with the lighting and a nice presentation, we can use this preset with the compositor to basically create an animation. And that's quite nice because it's going to keep all that lighting all the folk preset in our section. We're going to go back onto the layout, and we will have animation over here. So that's quite nice. The only thing that we need to do is basically create ourselves an empty. We can create it by going on to here and just creating an empty like so. We can use arrows. That's going to be an attachment, basically, to make sure that we attach the camera and rotate it around to get a nice arc shot for presentation. And the only thing I would say is that, well, let's go let's go out of the Rendeview. Let's click zero to go out of the possession of the camera. If you're not getting it in the right position, make sure you just reposition it a little bit, like so. And then afterwards, with this selection, we can hold Shift and then select on a camera. We can click Control P, and I believe that's actually going to do the opposite. But yeah, it is going to do the opposite. Holding Shift, let's go ahead and select back on to the empty because it needs to be like a brighter orange instead of the darker orange. Then we can click Control P and use Object set parent to keep transformations. And that's going to give us this dotted line across, which means that now when we select this empty, we can click R Z and that's going to move our camera around. So if you click zero and select this empty RZ, we can see the type of rotation that we're getting. So that's quite nice. All right. Next up is just simply setting it up with animation. We are already in layout, so we're just going to have this timeline over here. All we need to do is simply, well, let's go out of this mode by clicking zero. We can select maximum and minimum type of shot of an arc shot. I'm going to click I whilst we have the frame as set as 20, just to make sure I have this main shot somewhere nicely positioned. So I'm going to click I like so. Then if I were to move my camera to zero or to frame one, can go back onto position. We can click R Z with the empty selected and get ourselves this type of an angle, although I'm going to make it like this, a small type of arc shot. Just don't want the backdrop on the camera to be visible with the corner. So I'm just making sure that's not the case. So now let's go back onto the empty that we created. We can click I over here, and that's going to give us this type of a shot. So this type of shot is quite nice because it just makes a move from one angle to another. Of course, we're going to move it a little bit to more of maybe an extreme value. I'm going to click R Z and check if I can. No, that's not going to work. I think this is the maximum angle I'm quite happy about with the setup. I just prefer to get a little bit of an extra loop. So if we're setting up a gift, it would be way better to have it going back and forth. So for that, we are going to select the first frame on the bottom. We're going to click Control C, move this to frame 40 and click Control V. And that way, we're going to get a motion that's going to be going back and forth. Now, the thing is that it might be a little bit too fast. So if we click Play, it's going to be going this and that way. We can select this entire setup. We can just simply click S and scale it outwards. Or let's make sure we have the frame of the the keyframe, sorry, set to one. That way when we click S is going to just bring it out like this. And now we can just scale it out to make sure that animation is as long as we want it to be. Having it set 1-80 is almost there, but not quite. I'm going to click S again and just scale it upwards to 100, like so, and let's see. There we go. Nice animation. So it's going to go back and forth. Now, you might notice that kind of it doesn't give a consistent animation. It starts slowly, then picks up the pace, then slows down again, waits here a little bit, and then kind of goes and picks up the pace and slows down towards the end. This is because we are using a bezier curve. There are other options, although Bezier curve is going to be quite well for this particular case. So if we want to change it, we could do interpolation mode change from bezier to linear. That's going to make sure that the speed is going to be more constant. But for an arc shot, I do think that it's quite nice to have it like so. If you want to have even more control for the animation to make sure, for example, at the very start, it's going to be well being kept um, at that same frame for a little bit, then it starts moving and then maybe stops over here for a little longer. What we can do is we can select, for example, this middle frame. We can hit Control C and move this to a frame like 55, and that's going to keep that frame stable. So it's going to move it to this frame and then going to wait a little bit and move back. We can make this frame a little bit bigger if you want to, and that's going to keep that at a frame and then go back. I think that's a little bit too much now, so I'm just going to move it a little bit to the back. And like so. Now, in order to make it loop, what we can do is we can change the end of the frame to be set to 100. Now I'm going to click Control C and click Control B for the last frame to make sure that we're getting that same wait period. So it's going to go from one end, wait a little bit, and go back just like that. And that's going to be pretty much it. All we need to do now is simply render everything out. So in order for us to do that, we can just click on the render button, hit render animation, and that would be it. There are other ways of tweaking the outcome. We can go on to output, and there is PNG pile format, which would give us an image sequence. If you wanted to keep it simple, you can change it from image sequence. If you don't want to get your hands dirty with a video editing software, you can just change this to an FF MPEG, and that's going to give us, well, a video format. Then just make sure that the output is also changed if you want it to be well in areas that's a little nicer, so we can just call it video, for example, and move it in here. And that's pretty much it. You modeled the lantern, cleaned it up, took it to Substance Painter, and brought it back to Blender for a final render. If you found this useful, please leave rating and a short review. Your feedback helps us improve future lessons and helps our artists decide to join. If you want more, visit our free tutor store for additional blender courses, jump between not tools and real engine content. And we'll see each other next time. Thank you so much for watching. Happy modeling, everyone.