Blender: Create your own 3D game models.

1. Course Introduction: Games, games, games. If you want to create your own game or work in the gaming industry, you will have to be able to create 3D models. This desk might seem difficult, but we created a course which will Quickstart your 3D journey. And you will learn how to create 3D assets for games in a quick and efficient way. Creating 3D models in blender will become easy. Creating materials in substance painter will become fun. And at the end, you can use these models for your own game or portfolio. And you might even want to sell them online joy now and get instant access to the free updates which has just been released. 2. 1.1 Introduction: Welcome to the introduction. This course is, of course all about 3D models, right? We're gonna make a 3D game asset or prop. So what is a 3D model? Well, a 3D model is just an object in a specific software. In this case, it is Blender, which has three dimensions. An image or a picture will be a nice representations of 2D, which is a two-dimensions. You only have the x and the y axis. Well, and blend that we have X, Y, and Z. There are multiple ways to create a 3D model. And the one that is probably one of the oldest ones but is still used is just polygonal modeling. That is also what we're gonna do in the first few parts. And maybe later on we will also go to some sculpting. Digital sculpting. We can also do in blender. With digital sculpting, you Muslim time use a very dense object so you can sculpt inside the object. And then later on made from that very detailed object, a low poly, which is of course again polygon and Modeling. Either way we eventually have to use some of our polygon or modelling to create a low poly for games. 3. 1.2 3D pipeline: 3d pipeline is a word which might not ring a bell to you yet, but it is very simple. The treaty Pipeline is a step-by-step process to create a 3D model. A little real-world example would be the creation of a ring, some jewelry. First, you need to get it in materials and smelt them. Then a second, you will form them in some kind of shape. Maybe you hammer it, maybe you pull it through a certain device and as last, you need to polish it to give it a nice and shiny look. This process essentially called a pipeline. As you can see, the process that I just described is not totally accurate for every ring. Of course, I just made it up a little bit. What if the ring has diamonds? Diamonds, of course, needs to be set. So the same counts for our treaty pipeline. We might add or remove some of the steps in our pipeline. But overall, the pipeline is used for every 3D model that will be created. The treaty pipeline that I will show you Conference most of the aspects that you need to know to create a 3D model. Let's go over the steps that you will learn in this section of the course. One reference material to Maine or basic shapes tree will be the high poly for low poly, five, UV unwrapping, six, baking, seven, texture maps. And as last eight, will be importing into our game engine. Once you get to know these basics, what, how, and why we use these steps, then we can go on and create our 3D models. So in this section, it will be more of a theory kind. You can't really join too much yet. But as you get to know all of these steps, then we jump into blend there in our second section and start creating a 3D model with this pipeline in mind. I wish you guys good luck. And if there are any questions, just comment down below. 4. 1.3 Reference material: A reference for your model can be a real life objects or images and videos from YouTube. Or maybe you even see something in a magazine that will all work as reference material. The reference images, we'll show you how you can recreate the model that you might see. You can even combine multiple images and just pick and choose parts from those images and recreated with your own fishing. Almost every fish were artists uses reference images. And it is very important too. Pipeline. As humans, we might think that our memory is so good and that we don't need to look at images. But you will be surprised of how many mistakes I can see him Beginners from just not using any reference images. The reference material is used for 3D models, but also for texturing and even creating compelling scenes and lighting. I combined my images inside a program like Photoshop. Then I can just put a mixture of images which unlike on my second screen or even phone. And then I don't have to scroll every time to look through the next image. So let's actually go a bit more practical and I will show you how I do this. When looking for reference material. You can of course, just use a normal objects. Maybe from your home, maybe you see a bottle that you really like and you want to recreate it. That is a very smart way to do this. You can also get videos from YouTube. Maybe you want to look at Vimeo and images. I'd like pixels and of course Google. So let's say we searched for Google and researched on the table that you have lots of tables I just arrived, click Save As, and save them inside the same folder. My folder will look a little bit like this. Sometimes is a bit more messy, but this is kind of what we are looking for. And what I do, as you can see here, is I put all these images together inside Photoshop. This one is already put together as you can see, but yet you can just click and drag them in. So you have multiple images together. Why do I do this? This is because at the end, I just export this as an JPEG or a PNG. And now on my second screen, I have this up and I don't have to switch between images that don't have to do this. I can just look at one singular image and f, all the reference material that I need. But what am I looking for when I actually searched for certain reference images? Well, one thing is the shape. So you can see that we have loads of different shapes of cones here. And now it's up to me to search for something which I like. Do I want something like this? Or maybe I want a very simple cone? You can also look at the materials. So here we can see that if the new ones, you barely can see what the material really looks like. But if look at some older ones here, you can see where we have some damage and also where the dust or dirt will lay on top. Here. You can see that the third is for sure on top. So we can focus on that when we are actually texturing the model. So these are important parts you want the shape of your model. You can even combine certain parts if you want. And you want to look at how the material damages and what the texture actually looks like. Awesome. Now we can go on to the next part. 5. 1.4 Main shapes: Okay, so what do I do after I found my reference images? Well, right now you can see that I've put three of hair with totally different models. That is not normally how I do it. I will just keep on one, right? But what I do here is, is essentially the same as a, as you can see here. I tried to find out of watch what's shapes it is made out of. If you go into blender, you can see that if you click on shift a, you have a mesh. So we're adding a mesh. You have cube, UV, sphere, cylinder, cone, and Taurus. So if you go into Photoshop and I'm just stick a bright color here, we can throw on top of the reference images. So if you look at the shape of, let's say a lego block, you can very easily see that it is made out of a cube. Bam, bam, let's go back hair. Here. That is cube. And what is on top of this cube? We have multiple cylinders, right? Multiple of them. It's also finished this form. So those are ready primitive shapes which you can create very easily. If you go more into depth, you already can see that we have multiple of these cylindrical shapes. So we can essentially just aerate them and then mirrored onto the other side. But that's for later of course. So let's look at this model. We can see that we have a little bit more intricate shapes here. But normally I just like to keep it very simple and just do, you know, big shapes, basic shapes. So we have a cylindrical shape or conical, but, you know, the cones are a little bit hard to work with. That's why I use the cylinder, cylinder for most of these ones. And then underneath is like another cylinder. So a little bit bigger. And then underneath that we have, it's more of a square shapes with probably will be a squished together cube. Right? So if we have more of a cubical shape here underneath, and that does that. And then here is the same. We have like a cylindrical shape. And it's just a very like skilled down silane like big cylindrical shape for the stable. As you can see, I'm drawing with my mouse which is not the best. But that is this one on top. And then we have multiple of these stretched out cubicle shapes, which will just be cubes. And then here another cube which will join these together. So I really like to do this. It just makes, it makes it all a little bit simpler because you are your Ferrari easily get drowned into relax small details. So how am I going to make this? How I'm going to like, you know, these holes in here, I'm going to do this text on top. You should not think about that in the beginning at all. You should just think about big shapes and those small shapes will come later on. I personally call them like secondary shapes. And yet, so first just block out. And this is also called a block out by the way. So first you block out your 3D model. So if you're gonna make a traffic cone for instance, then you already know we need a cylindrical shape. Sleet is, we're gonna use a cylinder. I'm going to scale this part down. And then in the bottom, what did we have in a boredom? We had a cube which is scaled down. And you can always change these a little bit. But you can see that this is already a block out of a, a traffic cone. So I always do this. I think it's very handy and I think you guys should also do it. So yeah, do it. And I'll see you guys the next part. 6. 1.5 Highpoly and lowpoly explanation: Ok, so after the blackout, it's time for us to make the high poly. And let me show you a little bit what a high poly is. A high policy, essentially just the model or object that you're going to make with all the details on top. But essentially this is the high polio without the color, but all the details on top. But putting this in a game engine will just not happen. It has way too many vertices like this, d two on top. It's just, it's just way too much. It could be in the millions. That's safe. And we don't want that right. It's just not possible for live rendering. So we need to make a low poly and infra scroll a little bit down. You can see all these lines and those are essentially, that is the low poly, the ADS projected on top. But we can also look in the marmoset fewer. This is the marmoset fewer. And we can look in here, and this is the 3D model life rendered, so we can just look around it wherever we want. And here you can see all the detail isn't neither lighting and you can see the roughness and all that shebang. So that's really nice if you go and here we can actually look at the topology. So this is the low poly, right? And you can see that the low poly, he actually set it, low PolyGram phone is 4,385 triangles, right, with 2048 texture set. So what does this mean? The low poly consists of dismantle many triangles. And you can see all these triangles. They are like color black at this point. And the texture set is the textures which we can see here. And I'll explain more about that in the next part. But these are textures. We have a normal map if the albedo, the normal map is essentially very important. And that is a big reason why we need to make the HI polly first. Ok, so these are maps and those gets projected on top of the low poly. So that is essentially also how you get all this detail from the high poly. The low poly. We're going to bake everything with substance painter. You can also do them blender. You can do it in a lot of programs. But what we are essentially going to do is we're gonna put the hyperbole and the low poly model, both in the program. And then we're going to bake all the details from the HI polly on top of the low poly. And that will give us a normal map. As you can see, all the details are hair projected sea and is a yeah, we're looking map, but this is better than a black and white bump map, which I'm also gonna explain of course. But yeah, that is why one needs to have a high Pollyanna low poly. And let me also show you this one is probably also has a nice locally here for instance, you can also see all of this detail and here you can see the text and from knowledge prolly the text is not low poly, it's hyperbole. So let's look at there is no tax on here. As you can see, it's fairly simple, but all the details are baked on top of hair, so it looks amazing. So let's continue talking about the low poly. One important thing about making a low poly issue, you need to know a little bit about the polygon of budget, which essentially is how many of those trees or polygons you can put inside your object. So this totally depends on multiple things. A very important contributor will be the engine. So we know that we're gonna make games, so we need a certain engine and some engines can handle more polygons than other engines. The importance or the size of an object can also be very contributes into the polygon density. Is it a smaller object that's maybe not that much detail or is the very big object with a loads amount of detail? These all contribute to the polygon account. Also, do you have a box that has just closed all the time or can you even open the box? If the box is open, you of course, also need to model the planks inside. Okay, so let's look a little bit about what is a good low poly and what is not. So in this case, we have a high polygon object here. And you can see that it has a lot of polygons. And a correct low poly will be this one. You can see that our shape is still intact, especially the round shapes. And yeah, so that is a very important. If we look at this one here, we can see that we have some corners in here and we do not, we do not really want to see them in the game. This of course, also depends on the size of your object. Let's scroll a little bit further away. Now you can see that there's almost no difference between these two, right? So if you have smaller objects, then you can use a lower amount of polygons. Okay? So let's say we use this one. This one has 96, and this one has a 192. Then we saved almost like a 100 polygons of this, which is a lot. What to keep in mind here is keep the shape intact, ok, so you don't want to, we still want to see the nice shapes that we've made. So let's say here I have the frame of the gun, and this is the hypotenuse. So we have a nice, a nice smooth shape here, right? So this is the corner. If we look at a low poly, this corner is still there. And you will see that in this corner, I used a way more vertices then I used on this flat spaces. So the, in the flat places, you essentially do not need a lot of form because it is flat and that is why we don't use a lot of vertices there. And the next thing that I want to show is that if we look here at the bottom in our low poly, you can see that I have these buttons. And at this point that looks all good. If you look at here, you can see that there are actually do not have a cap at the end. Why? Because we will never see that pay. Let's place, right, we will never see them. So if you don't see anything, you can just delete it. And this already saved me two of these polygons. And this could go up to a lot of polygons by the way. So that is why if you can't see something, you do not have to model it, at least in the low poly. Maybe you want to do it in a high body, that's ok. You have a lot of freedom and HI polly, but a low poly, we do not need those vertices. So one of the lithium and that is kinda the basics of making a low poly and will, of course do that also in the course itself. But I wanted to give a little bit of substance to it. 7. 1.6 UV unwrapping: So now that you look at our model, you can see that the 3D model is still quite blend. We only have the geometry and we don't have any colors or textures on it. So how do we go from the 3D model to a fully textured model? Well, first you need to look at what textures are. Textures are essentially just 2D space maps. We have an x and a y axis, and that's it. But our 3D model is three axis. We have x, y, and z. So how do we project the maps onto the 3D model? And that is essentially what you're gonna do with UV unwrapping. So before we're going really into like Blender, I want to show you kind of a layman's term or how I like to show this to people. So let's say you have this Easter Bunny. A lot of you people might have already done it, but if you take all the foil off and like very neatly and then make it flat, you can see that we get an end result like this. And this is essentially what you're trying to do with UV unwrapping. Let me show you now a little bit of how it works with a cube. And here you can see the cube that is quite familiar. There are many of us. And what does essentially is, as you can see, that we are trying to unwrap r cube into a flat space area so we can put textures on it. Okay, so let's jump in Blender. And here we have r cubed, which we want the UV on rep. If you go here to the UV Editing tool, we can see that we have a nice workspace where we can UV edit our objects. So here we have r cube, and these are the UAVs with this main cube that movies are already done for you, Dinah. But let's mess up these user fees for seconds, just so we can jason ourselves. So very, very simple. Now you can see that it is wrong, but how do we know that it is wrong? Especially at the beginning, you don't really know evidence of wrong or right. And we can see this if we put a texture in here. So what I'm going to do is I will go to shading for a second. And I want to apply a texture on this cube. So I'm going to click on shift a to add, and I'm going to add an image texture. Now I'm putting the color into the base color and I want to make a new one, so create a new image. And instead of generated type blank, I want to generate a UV grid and click on okay. So you can see this is the UV grid and you might have seen it before in a patient that I showed you. And now we can go back to UV Editing. And if we go into the viewport shading, you can see that we have loads of stretching here. And this is what you don't want in your model. You do not want any of the stretching. You do not want stretching or overlapping textures, overlap and taxes we can also use to our advantage. But let's not focus on that right now. So here we have r cubed, which with wrong UV projections. So let's make our own movies. And going into edit mode. Top, go here at select and select the edges that we need. Now I'm going to click on contrary. And do mark seem? So here we can see these red seams coming up. If we select everything with a, we can see our uv. Uv is here, right? And if we click on you to unwrap, then we can see that a whole unwrapping changed. And now what you can see here is the part that we UV on rapt is this part here. And it gets projected very nicely. But if you look at the other parts, you can see that they get a lot of stretching. So we need to also UV on wrap those. Let's go further into edit mode. And then we're going to select these two edges, contrary, mark seem, and unwrap them. And I can see that there is no stretching here. No stretching here. And here the stretching starts again. So let's go for the last part and we're going to mark these edges contrary, mark seem, select everything you and unwrap. And here we can see the, the kind of across that we had before. And now you can see that the textures are projected on it very good, right? There has no stretching happening. And these cubes are all nice and square. So now you can essentially just put any texture on it and you know that that will not stretch. So one thing to keep in mind with making the seams right now we don't have a lot of options, of course, because it's just a little cube. But if you have a object which is a little bit more intricate, You want to hide those seems a little bit. So the shim parts will be most of time in very sharp edges. So right now we only have sharp edges. And there will also be at places where we can, where the focus isn't really on. So maybe in the back of something or maybe on top of the head where the hair will be, right? So the hare will go on top anyways and we cannot see the seam. We want to hide those seems a little bit. Those are essentially the basics of UV unwrapping. And now we can finally go onto creating textures and materials for our objects. 8. 1.7 Baking: Okay, let's go into Blender and I'll show you guys how to bake certain details on top of our cube. So here we have r cube. Let's name this cube and rename it cube. On the score low. We're going to duplicate this cube. And I'm going to call the second cube, cube on the score high. We need to do these low and high names. Then Substance painter knows, if it is a low ball, you are high poly. Now we're going to hide everything else except the high polling. And what I want to do is I'm going to give this some extra self-sufficient and then a multi-resolution and subdivide it two times. And shades move. So now we can sculpt them stuff on here. I'm just gonna do it very quick and very random. Here. This goes inwards and outwards. We can even play around with some clay strips. It doesn't really matter here, here. So let's say this is the high quality that we want. Now we can export both these. So we're going to select this hi Baldi File Export. And then we can FBX or OBJ. I'm gonna do FBX for right now. You have some options here. First thing I'm going to select selected objects that's going to be on. So now only your selection will be exported. Furthermore, I think this is okay, so we can export it. I have made a new folder called QPR bake. And now I want to save this. So I'm just gonna do cube high because this was the high one, export FBX. Now I'm going to select the low one and I'm going to export it as well. File Export FBX. And now here instead of high, we're gonna call it low export FBX. Now we can go into substance painter and we can open a new file, File menu. We can select our low poly, so cube low. And then we can just click on OK. So here we have r cube. Very cool. R cube is already UV on rats as you can see. And what we want to do is we want to bake all the details from the hi Baldi on top of this load Polly, If you scroll but lower here in texture sets settings, we have the options for bake mesh maps. You can click on hair and open our high poly cube. Hi, I'm gonna put the output size a little bit higher, just so we have a little bit more detail. And then bake material mesh maps. After it's done baking, you can see that all of our detail is now on top of a cube without adding extra geometry. This is still the same cube. You can see here in the corner that doesn't bake totally on top of here. This can have multiple reasons. Nice. Recent number one will be our topology of our low poly is not good enough for that corner. You should try to keep the forms the same. So if it's like really cut off here, tried to add some Azure geometry in the low poly. You can also go to bake mesh maps a, you can put this MX frontal or mixture a distance a little bit up. We're not gonna do that right now. This is just a little bit of an intro. And what this also does, we did not only bake our we did not only bake our normal map. We also baked all of these maps, as you can see, thickness, position, curvature, and with occlusion ID and we'll space normal map. So why do we need these? Well, for instance, let's look at curvature. I'm just gonna drop a material in here. Let's do a global pure. And now we have this cobalt material on top of here. If we go to layers, you can see that it's a very simple material. Let's say I want these corners to be a little bit more damaged at a fill layer and right-click to add a mask. So I'm just going to add a black mask. Now I'm going to right click on this black mask and are going to add a generator. So we have this generator. You can choose a love generators and I'm just gonna do metal edge where. So this is a generator from substance pain there itself. And what it does. If you scroll down, you can see that image inputs, it works 50 curvature, ambient occlusion position and world space normals. And you can see that because of our bake off, this detail will be on the sides where normally also a lot of scratches Ruth, like probably happened right on the sides with that. Those are parts at the stake out. So this is super, super handy to create some realistic details. And you can of course change this like the where level. But this is why we need some bakes to create all this amazing stuff. So I hope you guys learned a little bit of the basics of baking. And I see guys in the next part. 9. 1.8 Texture maps: So let's talk a little bit about the texture maps. Let's first look at the bottom right, the one with all the color. It's a diffuse map, can also be called albedo and sometimes it even has different names. But this map essentially just takes care of the color. It contains all the information of the texture. If we look on the left of the diffuse map, we can see a bump map. And a bump map doesn't get used a lot anymore. Normally we are going to use a normal map for this, but I've still wanna explain it. A bump map is essentially it fakes the height of your materials, so whites will be higher, black will be lower. And this way it kinda fakes the height in your textures. This does not require any extra geometry. Just one texture can already change the highs and lows, and I will show that later into blender. So now we come to the normal map, which is on the top-left. And normal map is kind of the same as the bump map. Only it has tripped colours. It has red, green, and blue. Most of them it shows like little bit purple of course. But this is more realistic than the bump map, so it's just a little upgrade, let's say. And now this is just we always use the normal map. I don't see a lot of bump maps anymore. We just are going to use the normal map. And we also have the displays with map. The displacement map is essentially the same as a bump map, but the difference is the displacement map you're using to really displays vertices or polygons. And this is very heavy on your computer because you're using more and more geometry to create the real displacements. And this is normally not used in any of the props. The specular map defines how strong the texture surface will shine. And now we're gonna go back to our roughness map. And this essentially represents how smooth or her Rafa surface is. There are more maps like metallic thickness map and it's strophic curvature. But let's just start with these and we can always expand on this. So I hope you guys learned a little bit about the textures. And I'll show you in blender or a little bit of what I do. Okay, so let's jump into Blender. First thing I'm gonna do is I'm going to lead this cube and add a plane. A plane is nice because it's to the n is essentially like if we look at, if we look at the fees, is essentially already done, right? So let's go to the shading and we're going to add some of these lectures that we have. So I'm going to create a new material and add an image texture. Color goes into the base color and we're going to open the diffuse. So now we have a color. There's is the diffuse color. Very, very cool. Let me put this lamp a little bit lower. Yes. And and if we go into this render shading, we can see that it looks quite cool, but it still looks very bland. We only have the color. So let's add our specular map. So I'm going to duplicate this, move it down, and color goes into the specular. And we're going to open our metal plates specular. And here we can see that we have already some of these reflections that we needed. They are still not great. And that is because we also need to have our roughness mapping here. Because the specular and the roughness they work hand in hand, they were very good together. That's at our roughness multiplied roughness. And here we can see some really, really nice reflections, which is great, right? And it still doesn't look, it's still very flat. We do not have any depth in hair. And a way to do this in gay models do not add too many new geometry. We can add a normal map. So I am going to add a new image texture. In blender, you know, also needs to add a normal map node in-between here, because it can go from the caller to the normal. Normal. And now we can open our normal map, which will be hair mother played normal. And I know that I need to change the scholar space to non-color data. And now we have some really, really realistic materials in here. So you can see that if you look from a little bit further away, it looks, Yeah, you can assay all this depth. But if you look very close, you can kinda see that it's not really there, but it's hard to see because the math just works really well. And that is why we use this normal map, recreate like we fake our depth in here, our height map without adding extra geometry. I can keep talking about Texas for a long time, but I think it's the best for us to just go onto the next part and then we can start creating our 3D model. 10. 1.9 Import into game engine: Okay, so I've changed this material little bits. It's just food with a little bit of edge where that's it. And right now we want to import it into Unity, right? So we first need to export these textures. So File Export textures. And then we can go to configuration and we can choose to wherever we want to export it. Then I'm going to do unit three and then you can do metallic specular. Let's do metallic for right now. And then. So it's Unity five standards with that. Like if you have to find that also here, config Unity five Stan metallic. The only way why you go to configuration is to see whatever you export. You don't have to click it here and then go to export. Its, its just to see what is in there. So, okay, we have that. Now we can export it, and it will export to this little section here. And I don't want it to export there. I wanted to export in the map that we've made. So I'm going, there is going to create a new folder with textures and pop it in here, exports. And we can open the folder if you want. And we can see our exported textures. Very, very cool. And what we want to do now is we want to open a unity here. And to be honest, I am not really proficient with Unity. I like. This is literally the second time I use it. Most of the time I import everything into another program, but that's totally fine. First thing you do is you probably want to create some new folders. So here folder and there's going to be our models. And another one is going to be our textures. So in our models, we're going to do our cube low and we don't need the high again because we've baked all the textures. And then in the textures we can put all the textures that we just made a hair in our textures. We have these three textures. Very cool. Just takes a little while. Then we're gonna go into models. We can just slide it in here and go to this vector. I'm going to add my texture so you can just slide them up. And if you put it down, you can see where they end up. So this the albedo with this one. But you can see that they all will go into the albedo. So what you need to do is you can click on this little circle here. And then you can select your texture for the albedo with literary just one r cube. This albedo. And maybe we can even slide it through here. So this one goes in here. And then our normal goes and the normal map. So here we have imported our 3D model into Unity and that's it. So that is kind of how are we gonna do this? We're going to start off, and I'm really excited to just start off making a model. We're going to start quite simply just like this one. Very simple. And then we build up to a little bit more difficult. So hope you guys are excited this IM, and I'll see you guys in the next part. 11. 2.1 Barrel: Reference images: Okay, so this is going to be our first 3D prop, right? Our first game asset or whatever you can call up. And what we're going to do is just come through every step, which I've talked about in the section before. And that is creating a folder full of our reference images. And I did just save a lot of these images which I like and compile them together in a folder. So I do like this one. Say if S and I want you to do is we're gonna create a whole new folder. I'll call it barrel. And then you can just save it in there and we're gonna do more of them. So try to focus on the real ones, not really the 3D ones. Maybe if you go to our station, you can look at some of the props that people made. So is look for barrel and you also have the option for subject matter. You can go to props, it can even do media to digital 3D. So the nice thing about this is that there are real pros doing all the stuff, right? So US beginner, really want to figure out what the pros are doing. But if you take, if you only take references from images that are already like taken from this, you cannot get the same as you tell a secret in someone's ear. And someone else is gonna take della secrets in someone else's air. And at the end you will see that it's wrongly translated, right? And the same happens here if you just keep doing everything from 3D. Lets say we are modelling from here. I can already see some mistakes that I purposely don't want. And yeah, so keep that in mind. So tried to do some realistic like from real stuff. And so we're gonna take a few more. And as you can see here, the sides have these folds. What these folds do is essentially they prevent the amount of pressure that's gonna build up inside because the outside moves a bit with the liquid or whatever is inside, liquids changes a lot, and it also depends of the liquid. But let's say water, water expands when it becomes eyes, so they should be careful with that. And this image shows us some rusts. Rust will build up, and this is good for our materials. So I'm also going to save that. Maybe not an old one. Yeah. These homeschool. And notice it's a beer company, but it's actually a real barrel. Like, I really like the way that we can see certain firm forms from here. And here we have all our pictures are our reference images. So we also say, and what we can do with these, we can put them into Photoshop. If you guys don't have Photoshop, I can. Of course. Thank you. The image where we've about everything together. So here's our Photoshop file, and we can literally just throw these in. So let's first look at this one. A little bit bigger. I really like the form this also these gaps. I do like a lot. So we might want to focus really on this one. I think this one is essentially the same. Yeah, the form is exactly the same. So this is a better image, so we're going to focus on this one. And then of course this needs to be on top right. But we can see all the shapes in here fairly easily. And here I want to focus on this. So I'm just going to duplicate it. And also on this back part. So having them both is very nice and you can scale them up. It's a bit hard to see, but I think we can get some knowledge from it. I think they are essentially the same, just the sizes adhere those caps on top. And then after this, we of course need some materials. So I think I do like some of these rusty ones, right? I don't need the bullet holes in there, of course. And here you can see where it probable wear off first. Alright, first of these points here on top, if it standing outside. And yes, some of the rust colours we can also see here what happens, right? So I do like this one and I'll just get rid of this topic. We need to restaurants than layer. And I'll just focus on all of these other ones. So I might make this a little bit bigger like this. And then this last, I'll also drag this one in here is a very small image. And I really do like these here on top, but also how this oil is going off of here. But I'll just keep that in mind. I've just got to take these two here on top and place it and focus on them. So then I can essentially just delete this one here and reposition these images. So let's just keep it at this for right now I'm going to save it, save S just too as a JPEG or a PNG barrel combined. Okay, so the next part we're going to look at which forms you have to take care of. And then we're gonna create our high poly. 12. 2.2 Barrel: Blockout: Okay, it's time to create a 3D model. And we already looked up a lot of reference images, right? And the thing that we came up with is this. And we're going to focus on this shape that we have here. First thing that we need to do is we need to know a little bit about the shape of this model. And if we look here, I already made a very nice drawing, as you can see. But what can you see here? What shape is this? Well, it's very, very simple. If I just hide this, you can see that it's literally just a cylinder. So if we add a cylindrical shape, so we go in the blender, I'm going to delete the main QB and add a cylinder. We can see that, yeah, this is the shape that we want, but is the shape the same size? So so is the length and the diameter of this barrel the same as in Blender? Not so we need to change this. So I'm just going to skilled around the z-axis skills at. So I think something like this will be great. And this is essentially our main shape. There's one thing that I do not really like, and that is, are these angles here. Remember, we do 14 or three vertices per phase. We do not want these big N guns with more than four vertices on one face, it just doesn't make sense. So we're gonna delete those. And we want to create this detail on the sides. We can already go essentially to the lit, but let's create this DDL inside first. Well, there's one thing that I want to show you and that is that essentially this here on top is the same as on the bottom, so it's mirrored. And what we can do a blender, We can also mirror objects. They mirror or Rounds our origin. So if you look at this little orange thingy here, this orange dot, that is the origin of this model. And it is perfectly in the middle right now. So we only have to go on top contour are to create an edge loop, click and then delete this bottom part. So now we have half. And if we go here into the modifiers, we can add a mirror and mirror it around the Z axis, right? So now whatever we do here on top will happen in the bottom because it's just mirrored. Very, very cool. I also want to put the clipping on. If I don't put it on, you can see that it just slips through each other. And if I do not do it, like if I fingered on, then you can see that I can't do that anymore. They're nice together. So the next shapes that we need to make are these little indents in here. I would not know how to call them. Let's call them folds for right now, they're not really faults, but yet how we create them is we're going to create two edge loops. So I'm gonna create one. Right now. Let's go a bit closer together. And then create another attribute in the middle. And we're going to scale this edge look down. And you can see that we have this nice little corner fold in there, right. But can we create them all a little bit at the same time? Like they have the same length, same depth. Well, that is of course possible, but we gotta keep one thing in mind. And that is that we can just create a lot of edge loops. And let me show you bought the extra apps go all the way through. And what we can see here is that the edge loops only starts from a certain point from here to start. And then they end around here, right? So we need to create already two edge loops around these points. So keep this pops into mind. And then also this one. Ok, so we're going to create two edge loops there. One is going to be around here, and one is going to be around here. So those are these two edge loops. What can we do now? Now it's time for us to look at how many of these indentations we have. Well, we have 1234 of these corners at the Go out. So those will be for-each loops. So if you go in here and then control are and then just scroll up four times and we have four edge loops here. Now it's down to just create an edge loop in between all of them. We could have also done aid, but now you glow a little bit about how I go about these things. Now you select every other one, keep the outer ones non-selective, then just scale them a bit inwards. They'll go too overboard of this a little bit, is enough. Very, very cool. So how do we create this nice sharp edges, right? Let's focus first on that. And then we're going to this and lower one because that's a little bit different as you can see, the sharp edges we can create with some bevels. But we also don't have enough of geometry to actually make this looks smooth because you can see is quite blocky still. So we're going to add a bevel modifier and a sufficient surface. But yeah, as you can see right now, it goes all over the place. Let's hide the subdivision surface for a second. If you just click on those little real-time render thing, then we hide the self deficient surface and we are only working with the other two modifiers. So this bevel modifier. Let's look what it does right now. If I turn it off and on, you can see that that will baffle literally every single edge that there is. And we don't really want that. We only want them to work in a certain place. So you can do this in multiple ways. But what I like to do in this case is use the weight. And what await essentially does is you have to assign a weight to certain edges or vertices. And those will be taken into account. And they're, a bevel will be generated. So if I go in here and I'm going to select with my edge length, this, all of these edge loops. Here. Then go into item and go to edges data. And here you can see mean bevel weight, right? So for the edges, because we're doing edges right now not vertices, edge data mean bevel weight is going all the way to one. And here you'll be able to see a huge difference. And that is that only geometry will be created at those points. So if I go into via frame, you can see that some geometry is being generated, but the width is just way too wide. So if I put this Width down, you will see that our geometry, we will get changed, right? So we're going to put this quite close and maybe even put two segments instead of mn. And here we have these nice shapes. It is still sharp here as you can see. But that is just because we did not apply. That's just because we did. But that's just because we did not unhide ourself deficient surface. So we can go up in a subdivision surface. And even shades move with w, w shades move. And here we have all of these nice shapes. So yeah, you can still change this width if you would like to, or even the segments. But the weight is set to the right points at this point. Let's go on and look at this, a rather different parts, which is essentially this lower one. It takes a bit more out. And I also feel like it is not as sharp as these edges. So we're going to change the bevel from this one and also moved a little bit more out. Let's move a little bit more out first. So go into edit, select this whole edge loop and just the scaled a bit up. Awesome. So now we see a difference. And I want to move this out, but I do not want the sharp edge. So what I want to do is I want to create my own Bevel, and how am I going to do that? Well, I'm first going to get rid of our bevel weight. So I select this whole edge loop and then put this bevel weights to 0. And you can see that the bevel is, is totally gone. And now I'm going to create my own bevels. So if it's still selected, you can just click on Control B. And you can slides a little bit up. And you can just move your cursor and you can see that this changes are bevel. I'm going to scroll a little bit up. And that will create another edge loop in the middle. And then I think around here would look good. And then just click and then it will be applied. Very, very cool. So you can see that this, Yeah, it's quite easy to create this. And we can always just skill this a bit more down if you want. Or even skill of these edges that go in a little bit up. And yeah, it's very applied all of this stuff. So yeah, I really, really like that. And I think this is a great point to save this because we do not want to lose any of our progress. So save this. And then in the next part we are going on and make the lid on top and on the bottom. I see you guys there. 13. 2.3 Barrel: Blockout lid: Okay, so let's create the bottom and the top lid on this. And let me go in here and show you again. So here we have our bottom on a tablet. They're probably different from each other. But let's first just create the main shape of them. And you can kind of see it here. It's quite an easy shape. So we're literally just gonna extra this scale up. Actually would again scale around the z-axis. Xcode again, skill down. Actually, again, secure around the z axis. And then just extra roots. And then I'm going to click on, right-click just so it snaps back out and do at sander. So this is kind of how I create this lid. It looks quite good, but in some parts it's a little bit to smooth. So what I'd like to do in those cases is just create some extra edge loops to kidnap them this smoothness down, and yet that's essentially it. So also here I would like it to be little bit more sharp. Awesome. And then here you can choose for yourself whenever you like to do on top. So very, very cool. This is quite easy as well, right? There is a big difference though, between the top and the bottom is we go back, you can see that we made two different images here. And that is that we have yet this here. So not only do we have a LED with a hexagon local shape on the Neith. But we also have, it's a bit better to see here we have like a, I already drew here. It's like a circle. And then it dips a bit in. And then there is another circular shape. And then it goes to our hexagon level shape. We need to make those, of course. And let's first just get this hexagon local shape and this led down. And then we are going into matching them together with this lit that we have the doublet. So let's first create our hexagon local shape. The way that I like to do it is just create a circle and then change the vertices down here to eight, which is a hexagon shape, right? Awesome. And now you can choose a boredom and adult. Want to scale this a bit down and just moving it. Here. There's one thing though, and that is, if you look at the image, you can see that our flat Barth is here. And with us are flat Barth is not here, right? We have this pointy bit. So how do we rotate this in the right way? You can rotate it right this, but it will not be like perfect, right? So what I personally like to do, and I will show you in a calculator. We know that if we rotate something we have 360 degrees in a circle is 360 degrees. We also know the amount of furnaces that we have. We have eight. 12345678. And if you want half of the eight, then essentially we need to do 16. So we just got to double it again. So 360 divided by eight is 45, but we need to have it. So we're going to divide that by two because it's 22.55. So if we rotate this around the z axis, so I'm just clicking rotate z and m 2.52. Just do it on the on your NUM pad and then click Enter. Then we have rotated this for year 22.5. You can also do it here to 2.5, C, the same. Yeah, awesome. So now just go into edit mode x through this a little bit up. And here we have our hexagonal shape. Very, very cool. I'm also, I also want to kind of fill this together. So I'm going to click on Extrude. Click on the right-click which just snaps the BEC all m And do at center. So here we have at nasa matched. I'm gonna move this a bit down TO around hair. And yeah, awesome. So let's say we want to make this cap also instantly on top, which is essentially just a cylinder, right? And what I want to do is I don't want to go through the hassle to move with perfectly on top. Because I know that this vertices or this origin even it's perfectly in the middle. And so if I select our hexagonal shape, click on shift s. We can do cursor to select it. And now if we add our cylinder, it will be in the middle of this object. We just have to scale it a bit down. And that is essentially if then yeah, just let's look at the size we need. I'll go somewhere like here. I also think this is a bit too big, so I'm gonna make it a bit smaller, and that is essentially it. So what's the difference between this one and the small the smaller thing? This one and the smaller one is that the little lid on top is a bit bigger. So what I want to do is I'm going to duplicate this and move it over here. Skills a little bit down. And then just scale this around the z axis and little bit. And that is essentially it. Make sure it's still in the bottom. In the next part, we're going to merge all of this a bit together. And I will see you guys there. 14. 2.4 Barrel: Highpoly: Okay, so it's time for us to match our top lid up, right? And what I want to do is I first want to apply the mirror modifier because we are going to only work on doublet and the bottom one is essentially good the way it is, right? So if apply it, we can literally only work on here and nothing would change on the bottom. Awesome. The thing is, I want to delete this vertices here. And right now it is very busy this scene. So I'm going to click on one to go to move to my front view, go into wireframe, just select all of these vertices and then click on H to hide them off. And now it's just a little bit more serene and a little bit more yoga or whatever. And I actually want to hide off a little bit more. So I select this whole edge loop with all select and then plus, plus, I click on H, so we don't make any mistakes. And this seems to be okay. So what I want to do here is I want to join these camps together with our lid. And why do I want to do that? Well, that's because if we look here, they are essentially because of the pain that it's almost like one model. And we're first going to create the circles. But also the circles will be joined together with this hexagonal shape. So let's first just create those circles. Remember what we did before when we select our hexagon shape, you can do Shift S and Kirsten selected and then add a circle. Eight vertices is not enough. I'm going to do 16. And then just scale it down. And here we have to look back at our references again to see how big this circle should be. So in the smaller one is quite big. Scale this up a little bit more. Now we need to do the same here. Shift S, Crystal selected, we're going to add a circle. It's 16 vertices and it should be. Let's look at this reference again. With smaller summing around the hair. We can always change the still. But yeah, let's give it up this for right now. So we want to join all of this together, right? I'm going to hide these lids for right now and just focus on the hexagon local shapes and our barrel. So I'm selecting these hexagon local shapes and our circles, then our barrel and legal guns will J. Now they're merged altogether. You can also see that the hexagon local shapes are totally different because they all get solidified it. Let's hide the SAP deficient surface for right now again and go into DOM. So one thing that we want to do is we want the G9 that add everything to get it right. But If we add them together now, there will be some, there'll be some high differences which we do not want yet. So I'm going to select all of these bottom vertices. And also the bottom of the barrel. The lid. Then click on skill set is 0. And this will scale everything down at the same length. So skill z 0, and then click on enter. So now everything is at the same height. Now what I want to do is I want to fill this up. So I'm going to select, we can do it if the edges stack this edge, then this edge click on f. If you click on just a corner when you're ready, like filleds, Lambda already has like a face next to it, and it has the ability to create another quad. Then you can just click on F, F, F, F, F, F, C. And also here. Very cool. We can kind of do the same here. So f, f, f, f, very goal. And what we're going to do here is we're just going to match these up as well and make sure you do the right ones. This one, this one. So just to for here, we're going to fill this, these ones up one more. And now we of course also wants to fill this hole up. So if we are going to look here, let's look at our furnaces right now. We can see that we have 123 vertices that need to be filled up on both sides. So if it's very simple, we can just do control our scroll this up three times. And now we have three extra vertices here. So the only thing you have to do is expand this. Very easy. And also here, expand this. So we can see some weird shading artifacts. It can have multiple reasons. Probably it is because of the normals. If you go here and do face orientation, you can see that we have blue and a red faces. The blue phase are essentially normals at our border to watch you read phase are born and like the other way around. So we need to fix that. And when you go here into mesh normals and then recalculate outside. So now everything will be blue except you can see some rapids here, but that's because we're looking inside the barrel. Ok, very, very cool. And the next part is we need to do is we're going to extrude this circle, scaled a bit down. Then it's going to be moved to the bottom right, g set, because it dips in a little bit, as you can see here, dips in. So let's do that. And eventually it will then match up with this hexagonal shape, what we are going to look at it later, we're just gonna do the same here. X2 skill that you want to select these inner circles. And then let's make the easiest saying that f 0 select involves skills at 0. And what we want to do is we want to move these. And I'll select the bottom edge loop of both of these hexagonal shapes. Go into your front few, go into wireframe mode and just lined them up if the circles that we just put like lower. The only thing that we want to do now is fill this up. So how are we going to fill it up? I think the best way is to just create trees like this. And now it's a little bit time consuming. And there we have it. Very, very cool. There is one little problem though, and that is if we're going to activate our subdivision surface now, you will see that everything gets moved out. Even these nice, yeah, when the circuits that we made. So if you select those circles and beveled them, so mean beveled weight is put it on because we're using the same modifier. Here. We have yeah, we get that the BEC. So do the same for both. And we have that quality back. Very, very cool. This, this doesn't look like a hex conical shape anymore. And if you want to fix this, you just should go through Face Selection. Then you select this whole edge loop around it. I'll these faces and make them also a mean bevel weight. We can see some clear like artifacts down here. And this is because of the baffles and efficient service that we have. So we need to select every single one of these phases are rounded. So we need to select every single one of these faces around the hexagon shape and also give them a baffle and that will get rid of those artifacts. And now we have our cylinder. It's still called cylinder. Let's rename it and make it a barrel, right? Names are very important, just so we don't get messed up with it. And for these ones, I want to change a little bit. And that's mostly because I do not like these corners in here. And I also don't like the fact that it has no bevel at all. So what I want to do is I'm just going to unhide the other part. I'm going to delete the bottom. We're not going to see it, so just don't use it. And also I want to change the geometry of the stop bit. So I'm gonna delete that face as well. Select this whole actual loop than extroverts, snap it back out m and at centre. Very cool. Now we can essentially give it a bevel modifier. And you can see that this bevel, Well for me it's easy to see. Maybe if you're a beginner, you can see that easily, but it's a little bit weird, the stretched and the way that you should change it, It's just click on contour a and apply the scale. This is all just because if you scale it up or down, you can see that it moves. And if you want your bevel back, you have to just click on contrary and scale, so it knows the right scale of your model. Okay, so that's it. If you get a subdivision surface in here to make the bit more smooth, you can see that we still get all of these corners. That is mostly because our befor modifier is working on every one of these actions and we do not want that. So I'm gonna put this limit method2 angle. And let's put the segments also a little bit up and the width also of course, because that's just not the way that we wanted. Then click on w, shade smooth. And yes, essentially it. So let's say we wanted to have the exact same modifiers on this one. We can actually duplicate them. Let's first make this model a little bit better though, that we do the same. We're going to delete this face and this face underneath. Select this whole edge loop x truth. Then I snap a BEC. When I click on the right-click, it just snaps back alt em at center. And very, very cool. So let's also apply the skill apply scale. So now we're going to select the model that we wanted to change. First, then the model with all the modifiers that gun control l, and then click on modifiers. So now it has exactly the same modifiers as you can see, and we do not have to add anything different. I just gave the shade smooth, but that's kinda it. So here is the high bully of our barrel. And I will personally also just change these names a little bit. Make it big cap and small cap. It's just so you can see the difference. Now, I want to show you also a nice way to save our stuff. And if you made a safe file before which I'd really recommend, I recommend also doing a, maybe a part one or just lowercase one. Because now if you want to save it again, you can just click on plus on your number. And you can see that automatically will be changed to, I notice does take a little bit more memory, but it is very handy to have multiple safe bars because remember, in this part we actually accept that our mirror modifier. And what if we wanted our back there? You can literally just go one blender file back. You know, you can just go to part one instead of part two. And I use it a lot. Anode really recommend you guys also doing it. Just saved a few more times than you think it's necessary. Because, you know, once the time is there and it gets N_hits crashed, you will get mad at yourself for not saving it. This is kinda it for right now. And we are going on in the next part and create our low poly. 15. 2.5 Barrel: Lowpoly: How are we going to make a low poly from this high Polly? The first thing that I like to do, as I just like to name this collection, HI polly. Create a new collection, this right-click collection, and changed his name to low poly. We're gonna put our barrel in there so it's just duplicate it. And then a duplicate, we're gonna put in the low poly, Same for the big cap and small cap shift D. To be honest, we're kind of just join them together, the small cap and the big gap. So just control j and then just rename them. Somebody like lists would work. Okay, let's hide the hyperbolic and let's look into the so-called low poly. Okay, the first codon, delete the modifiers. As I said, we don't need any, any Bevel or any self deficient on here because we're essentially going to bake all of those details from the high Bali onto this one. Let's go into edit mode and let's look just at what we just made. We can see that some of the vertices that we have are kinda unnecessary. So these ones are all made for a certain depth, which I do like, and it does give a lot of extra detail. So I'm going to keep them them in. But this one here as like literally no reason. So this one we can essentially just click on X and then do edge loop that will dissolve the edge loop. We don't donate them. It did not give any extra detail, and it was just more vertices for nothing. We'll resolve them more polygons. So very, very simple. Let's do care in a bottom. Here, for instance, this one on top, it gave us a very nice bevel in our high poly, as we can see, both in our low poly, we do not need them, so I'm gonna select that and delete this edge loop, also this attribute on top. We do not need just only the ones that will give us some extra forms. So this one here, so we don't need, and you can see that slowly but surely we're gonna get rid of a few of them. I think I will keep these here because they have a, they give us a nice more smooth shape. And we can always go back to our low Boolean chains with stuff if that is not the case, Yeah, same here and delete this edge loop. We don't need it also there on top, this edge loop, and here this edge loop. So if we look here, we can see that this is already quite good, but it's not really optimized yet. We can still get rid of some of these edge loops. So what I'd like to do is I like to select these. Then this one is last of m. And then at, at last, because the last selected, the fantasy that, that will be the one that I want it to be selected to. At last. M at less. This already way better. To be honest, we can also get rid of this one, but let's just keep it at this right now it is okay right now and yes. So furthermore, I think this is it. But we can see that there is yet like we have no sharp shading or anything like that. If you if we get rid of all of these Bethel weights. So if you go to the top, you just click on aids and select everything and put this mean bevel, wait all the way to 0. You can see that we can essentially add E and a mark sharp. We can mark this as a sharp edge, which is very handy for baking later on, but nothing is happening. Why is that? Well, if we go here into our object data properties, we can go to our normals and do auto smooth. And I normally put it at like a 120 degrees. And this is essentially it has moved the shading. But you can see that now the one that we made sharp is actually has a sharp shading on here. So let's select all of these ones that we want sharps. So there's this, this, and then this, Anna Bolen and this one, country Mark sharp. What does this do? You can see that the shading is way better and this is still our, just, our low poly, right? So yeah, this is really what we want. So I'm gonna do the same here. For E. Mark sharp. Very, very cool. And then of course, we can also kinda do with hair, right? So this one, this inside here, this circle even I will probably like that as well. So select all around Mach sharp. You can see that this is nice and sharp now and the atmospherics as well. And make sure we have this shade smooth though everything, yes, that's better. Same here. Select this E MC sharp garments do the same here with our hexagonal shape that we have. So most of the time, you do this when you have forms that are like for sure, sharp. So also the 90 degrees angles hair. And for other shapes you do not really have to do it. So I'm not really a 100% sure about this one yet. If I have to do this one or not, maybe clears first because it is not going to be all the way sharp, right? We have a certain, we have a certain, well there. We can always go back again and really look at the levels that we have. And even if we have, as you can see, we have a nice bevel on here. So I'm not a 100% sure about that one yet. But we can always go back and shading Becker for off to look at the model. Let's just What about we do one country and then also the stop bit, contrary mark sharp. And then later on we're going to look at our bakes and we're gonna look at the difference that they have between them if one is shaded better than the other one. So we can always find out which ones we'd like more. So very, very cool. Here in the bottom. Contrary, mark sharp and I'll also this bomb to mark hope, Marc sharp. Here and here on top as well actually control marsh or all of these 90 degrees angles you really want to mark sharp, Let's say. Ok, cool. So that is essentially how this barrel is going to be done. Yeah, and as you can see, this one is really weird, but we're going to look at it later. And for the lids, it's kinda the same. We might be 0V and we might even changed these vertices like this is a lot of vertices for a small little lid. So what we can do is essentially, if we hide this barrel for a second and look into the small liquid we have, we can delete this courtesy. And that's just like select every other edge here, x and then the sulfur edges. Now just actually again all m. And then at center, I kinda wanted the lead of these modifiers. They are not needed and create an edge loop and Mark sharp on the top. Okay? And this one, let's just keep it at this amount of vertices that it has. Just create a mock sharp here on top. And that should essentially be it. So this is our low poly, and in the next part we're going to create our user fees. So you guys there. 16. 2.6 Barrel: UV Unwrapping: Okay. Let's make our YOU fees is essentially quite an easy. That's just got to our UV Editing tab here. And we can see that it already made some new fees, whether it's not really the way that I like it and the ways we make you feel it's quite easy. I'm just going to select this edge loop here and this edge loop down here. Contrary and Mark seem, if you've marked seem like they're the, the model will be cut off, let's say. And yeah, if we cut it now it will of course not be good yet. You can see that we have some weirdness and also the, it has non-uniform skills. So let's also apply to scale. A scale. Now going through the front view. And one important thing is to hide your seams. But yet this model is round and there's not really a way to hide her seems. So I'm just gonna do it in a front view for right now. And I'm going to select from here all the way down to hair country Mark Scheme. And now you'll see that if we unwrap it, we have this very nice UV map here. Very cool. What I personally miss in this little tab here, It's a way to check are you fees and registered at very quick. I'm just going to grab a extra tab down here and shade editor. Click on new. And we're gonna give this a image. So image texture goes into the base color and we're going to create a new image, 1024 without sorted for us. Okay, we just want to put the generated type at uv grid. Click on OK. And now you've created the UV grid. If you look at your material. So if you look here into the material render, you can see that RUP grid is here. N. If I look here, we can see that we have like almost no stretching. They are nice and square all the way around and that's, yeah, that's the way that we wanted. Very, very cool. So what about these other parts? Are they also good UV on rabbits? And in this case, I, I do see some stretching going on. It is hard to see. And when it's as hard to see as hair, which wants to do is she wants through or skill up this texture or skill up your fees. So if I scale this up, you can see that these cubes get way, way smaller. And I know it doesn't really fit in there. But now you can see if there's any stretching happening on smaller cubes. And you can see some obvious stretching happening here. And we do not want that. So we're going to cut this off a little bit more and get rid of those little stressors, right? So let's go back here. And most of the time, just creating seams around 90 degrees edges, just as we did with our marks. Sharp. Yeah, works quite goods. So I'm just going to do a zoom all the way around here. And then also I'm going to cut off this hexagonal shape. Contrary mark scheme. And then if we aren't rapids, you will see I already know that we need to change some more, but you can see that all of these things here becomes circles. And remember that the last time, what we did with our front view, we just are gonna continue this little seam here. Okay, so we're going to select this hair and just continue this seam around the top country Mark Scheme. And now they will be more like elongated as you can see here. And let's look how much stretching is happening now. So, yeah, let's scale this up a lot again. And here we can see that there is no stretching down here. Up here is also very good. They're all nice and square as well as in here. We do see some stretching hair with, in the hexagonal shape itself, but not this lit on top. So we just need to create some extra edge loops on the hexagon local shapes to get rid of those stretches. And those are literally just these edge loops. Because let's look a little bit more into depth in those. You can see how I get created. This gets like, because we're only putting a seam down here. It falls off and then, you know, it folds up like a morphous circle instead of a hexagonal shape. And that, that is not really the way that we need to, to UV on rapids. So I'm gonna unwrap it all away down here. Contrary mark sharp, and then you unwrap, and that's Luke. And here we will be able to see that this is gets caught off, which is the way that it should be. And then if we scaled this all the way up, you will see that. You will see that we have like no real stretching happening anymore. We do have hair though, and that is because we did not change this. So let's go back here and also create these etches, country Mark seam all the way around AS perfect. And then here on the bottom, we of course need to do the same with these edges here. So this, this, this, this, and then there's an Ebola contrary mark scheme. And we also need to continue that selection. So I'm going to have a front view and just continue this little edge loop down here. To be honest, this is a flat space which we do not really need through UV on rep because it's just going to be a flat circle, which is Guth, this one also, as well as this one. Here. It's just going to be a flat circle, right? Which is already as so. Even if you like you free on rapid there, it will not really get uv unwrapped, UV unwrap. And here is all of our detail. So here we have those three. What I personally would do with them is I would reposition them a little bit. So these are not the only UP maps that we need. We also need these hair right from the list. Let's are essentially quite easy. You just need to cut off this little cap here on top with both of them marched scheme. And then yeah, also with these ones, create one little seam. And with this seam, I will put them inside. But yet like here, like here, country Mark's team. And then this one hair, this will probably be like a little bit hidden. And then you unwrap. And that's that I would join these together so much ease up control j. This is just going to be a one model. And try to make the space between this as small as possible so it goes inside. Because the longer you make this, let's say I make it this long, you will still not see any problems on the top, but what it does, it essentially needs more space in a texture maps, right? So, and we don't really want that. We want to give it, you know, just the right amount but not too much. So I'm gonna move this also a little bit to the top, just hair, so it just goes inside. And that's okay. Unraveled again. And here we have everything. So now I want to reposition of this a little bit. And the way that I like to do with the most important parts are going to be big and the less important parts are going to be smaller. And yeah, that's kinda it. These parts are the most important to me. The top one where we maybe if one some oil spills and whatever to b and the side piece which is just going to be the biggest, right? So those are very important to me, which are a little bit less important are the, is the bottom plates. Maybe we will not even see that much in games, but maybe you want them to have laying around and then the bottom might be just as important as the top one. So just keep this in mind. It's very hard to see on this. You FEM ab space. So what about we change it for a second. I'm just going to create very quick a new image texture. And it's just going to do with, with all the way at a white, make sure it's two blank and then, okay, and then just selected here so we can create them a little bit easier. And with these circles, I, I'm just going to cheat a little bit. What I'm gonna do is if there is a one smaller, one bigger, I'm just going to move them a little bit inside. I notice will change a little bit of the resolution, but it will give us a lot of space for our other maps, which I think is more important. And these I will just make a little bit bigger. Just make sure they're not really overlapping and charter and yet they're not. So this is good. And I move it to one side. And I might even move this one inside here. So we really fill out the space Guth and this is the underneath. So it is less important in this case for me. And yeah, this is going to be very important. So I'm just going to scale this obsolete, literally fits inside, tried to not make it move outside of the corners because this will make it overlap on the bottom here. And omega gets smaller. You can see that this is not really all the way straight. And if you really want to put it in games and perfect it, I would do that personally. So what I will do is I would select this whole edge loop here. Then scale y 0. You can see that it gets straightened out. I'll do this all the way around. So if select this one and then I would also scale y 0, do this all the way around. But one little tip is if you just select this and click on shift r, it will just repeat your last, the keystroke. So you can just do that the whole the way true. So shift, our shift are same here. Scale x 0. Not as nice as straight. Larry put it like a here. Make sure you move from the 3D curves for the 2D cursor and you are scaled up. The hair. Yeah, and that's perfectly scaled. So now we can fill in all of these other points. I want to move this to the sides. We can scale this up as well, by the way. And then let's move this offer seconds and just focus on these parts here, which are going to be quiet and foreign. And so I'm going to scale them, make them vaguer. Just to fill up more for a space that we have. Let's use all the space to our Finnish rides. And then we of course have these hair. Awesome. So these are UV maps that saved this again, save s. Here I have Part three plus 0.4, and that's it. So in the next part we can start importing all of this into substance painter, and then we can start creating our materials. I see you guys there. 17. 2.7 Barrel: Baking: Okay, so it is time for us to export of this. And well, here we have our barrel that's just du barrel lamb. And export this file export lets us over j for this time. And here we have our barrel. I'm going to do the selection only objective as a gay geometry. Not apply any modifiers and also unknown voltage rises materials. There's going to be our barrel, a low poly expert LBJ. Then we have our high pulley here. And then the select everything that you need. So it's this one and these two bad boys here, file exports over j. And this is going to be the barrel high belief. And for the high bully, we're gonna do the selection only as well and then apply modifiers. And that's it. And so we can export it. Okay, let's jump into substance painter and restart a new file. So File New. And we're gonna select, of course, our barrel. We're going to select our low poly. Let's put the documentation at a ten hundred, two thousand forty eighth. We might export it essentially in a 1024, but is always nicer to work with a little bit more detail and you can always scale it down. That's the nice thing about substance painter. So I'm going to click on OK. And here you can see everything like RUP maps and I'll add shebang seems goods. You can also see that our sharp needles are being calculated goods. So let's go to the texture set settings and we're going to bake our map. So let's do our hair, going to add our high definition. So barrel high bully. And let's put the output size first at 1024. Why do I put this a little bit lower? That is mostly because I first just check it out Rino if there are any big problems and right now then I can already resolved without waiting too long to create the bigger texture sets. So bake it. And here they get baked and aggregate. Ok, very cool. And let's look if our, if everything is vague divided we want it's actually not too bad. And here, and this is some baking problems here, which this is the small amount, remember, and this one we made its sharp and if the other one not so it could be that we need to create the sharp details on top of that small one as well. But they are also smaller in R like feel maps. So that could also totally be it. And here on the bottom this seems he actually all the way. Okay, so let's look if just going higher up in our detail will actually resolve these little nest details here. So as go ahead to 2048 and I bake, as you can see, we still have these lines down here and it is just because we made those sharp in Blender. And yeah, we're gonna change them and also the actually conical shape. So let's jump into Blender. Go to are a low poly. And these sharp edges, let's get rid of them. Sharp. And as you can see, the one lifted better shading in, in substance bearing there has no sharpness. So I'm also going to delete the sharpness around this small one. So let's get rid of this sharp edge loop. But remember we also have sharp edges underneath the seams that we've made. So make sure you also delete those. And yeah, everything you have to do is just select your barrel File, Export, LBJ. And then just as the low bullet we had, exports. Go back into substance painter, which can do is you can just go to Edit Project configuration and then select your low poly again, and then click on OK. Now just rebate. Good. Yes. So we don't have these nasty lines here anymore. And this also seems way, way better. So that seems, seems to fix all our problems that we had. We have no weird, weird lines anymore and everything is nice and smooth. All the sharp edges are working great. And yeah, that's kinda it. So I think in the next one we can already start making our materials. And I hope you guys could also see how easy it is to just go back one little step. It is not hard to just change your models a little bit yet. We can already saved this substance painter files are well, And that's it. So I'll see you guys in the next part. 18. 2.8 Barrel: Materials: Okay, so now we are in substance painter and we want to create our material. So I think it's the best for me to just show you a few ways to edit certain materials. And yes, so let's just start with that. And the first thing that I like to do is to really just look at our reference images. And well, here we have them. So now it's time for you to choose what you really want to do. Do you want a nice red one or the one that blue material that we want them to be as warm as this, or maybe even born as these ones here. You can now start to make decisions. And I think the best thing to do is just jump into assumptions binder and look at the Smart material. So I want to look for a painted, a painting that steel. And here we have all these Still painted like smart materials. And let's just pop this one in so you can click on the model or you can put it in the layers. Let just do it on the model right now. And one thing that I would like to say is that if you're making a portfolio, a lot of like hundreds of thousands of people are using substance painter. And the problem with this is that these smart materials like people who are, are, are, are recruiting new 3D artists. Like they kinda get bored of these materials that are already preset. And the way to go around this is or create your own materials which could take off time. Or you can really go into these materials and edit them the way and added them in a nice way. So they, you know, look a lot like the reference images that you're making. Plus they don't look so general in the, in their perspective. So if we go in here in this folder, you can see that this material is made out of multiple layers. So let's hide all of these layers except the last one, which is the base metal. And we can see that, yeah, this is our base metal very, very goal. And the base metal itself, I think, looks good. And then we put some paint on here, so bang. And you can see what the spring does. At first of all, it has a color, right? And we can change this color, we can change the metal, we can check the roughness and the height. I'm going to keep them after this for right now except the base color. Let's just change that to blue. It doesn't matter if you guys like red do read, but I just want to show you how to change of this. And let's say I'm okay with, let's say I'm okay with this. And we of course also have a mask. And this mask essentially shows where the damages and the wearing will be and how does it show it? Well, you have a mask builder here, which is one of the, I guess the generators. And when you scroll down you can see what four maps this generator is using. We can see the curvature, we can see the position, we can see the world space normals. And if you remember correctly, these have been baked from the high Polly. So if we go up here to our parameters, we can change all of this to our liking. So let's say we want to put this level a little bit up, which actually creates more of this where, right? We can put the contrast up or down. So do we want more or do we want a more sharp or do you want a little bit blurry? We've been some extra grunge in here. So if you want to extra, extra grandeur on here, that's also great. I think it looks really cool. Maybe put a level even a little bit up. And you can change this curvature maps so that you want to make it work a little bit less. So playing around with these values real change your material. And as you can see, you can get really, really great results from it. Let's go to our roughness variation. Without a roughness variation on, let's look into a light. Here. You can see that we just have a basic roughness on here. It's just one level of glossiness. Let say, if I put it on, you can see that there is a grunge map on top. And this will create a lot of different values in the roughness. So I can also change, of course, all of these variations. So you can put the contrast up or down. You might even want to right-click and add some level students, you can also change the hair. So those are also some options you have to change your roughness map. I really think this is a very important one. It will really make your models just pop out of the scene if you have a nice roughness mapping there. So put some extra time into those. Then we have a dirt level which essentially is some third or some dust on top of something and you can see where it builds up. So also with this one, you can change everything that you wanted, like a different color. Do you want it to be a bit more dark or maybe even a little more light like a dust. You can of course also go into this mask and changed a lot of stuff. So here, curve turbid down, level way down. And yes. Let's just add some small details on hair. So very, very cool. And the sharpen just sharpens our details. The only thing that does, yes, so this already looks quite cool, right? And I think once you get to know how this works a little bit, you can start creating your own. So let's say we want to create some oil on top of all of this. So let's do that. Let's add a at a fill layer and let's create the material for this oil. So I'll probably be quite dark and quiet, shiny, right. And then down here, we could even change the height a little bit, but it's def, it's very difficult to see the high difference if we don't have a mask because it just, you know, it's all gets the same height. So when we want to do here, right-click, create a black mask. Right-click again, and let's paint our own oil. Instead of using a generator, we can just go to add pains. And let's go to the shelf and we can change, click on brushes. And here we can click on whatever we want. So what do we want? Do we have some fingerprints? Finger? Yes, we do have some fingerprints. So let's use this. And as you can see, you can just click on here and it will add the material. So let's just add some of these fingerprints ALL here. Bam, bam. That's really matter where. Well, you want to think about the places where they probably pick up this barrel. So if you pick it up a lot here, more finger principle be here of course then somewhere else. And the nice thing about using this as a mask, you can still change the material without the mask changing. So we can essentially make this blood, right? So so as you can see, you can really expand on all of this with just creating new layers with extra details on top. So let's say we want something like a danger label on top of hair. Well, I actually I actually already made a decal here warning. It's just a sticker on top. And then I also made an alpha fourth. If you want to learn how to make these, I have an extra section. It's just gonna be called extra hours. Yeah, we'll go into depth into creating some of these decals. Okay, so the first thing, just want to select them. We want to select both of these and put them into the sea, into the shelf. Then go here and you can chains wherever you want it. So this one is going to be at the alpha and this is going to be a texture. So one is going to be texture and wanted Vico alpha is going to be an alpha. Now you can import it. I'm just going to import it in this project. So project barrel then import. And you can see them here. Very cool. So now what we can do is we can just create a layer. So add a layer. Go down here. This is going to be our alpha and our color is going to be this. And now you can see that I can just paint this wherever I want. Very, very goal. So that's just go to the front view. And you also want to change like the roughness of it because it's a sticker, so it's probably a little bit more shiny and click on it. Biennium. So there we have a different roughness for this. We can even put a little bit of a high detail on here. So let's say we wanted a little bit higher, will be the other sides. So now it's really a sticker that also is a little bit higher than. That, has a little bit of high detail. Very, very cool. And if you want to make it also that it is a little bit of Warren, I would get a black mask and here create a fill and just put a grayscale and here, So let's look for a cool grayscale clouds. Clouds could also be already cool. The only thing is that clouds have no contrast. So this contrast needs to be up and just put this balance a little bit down. And as you can see, this is how we can create some easy wear and tear. So is this the only material that we have? Not really, because if we look back, we have also some plastic on top of here, right? We have these two plastic little lids. And those are these hair. So let's get a whole new smart material in here. Let's do a plastic. And let's just do plastic dirty. Who gets the thing is we want to give this material to only those two lids, right? How do we do this? Well, you just have this whole folder right-click and create a mask. So I'm just gonna do a black mask. Now if I select this mask, I can go into here, which essentially is the polygon of Phil. But we do not only want to fill the polygons, we want to fill the whole mesh, right? So Nashville, and you just click on these two, and that is essentially it. You could go back to drawing. And here is our material for these two lists. Very, very cool. You can also change all of this, but I'll leave that up to you guys. And in the next part is we're going to import all of these materials and model into Unity. So I hope you guys learned a lot and let's just go onto the next part. 19. 2.9 Barrel: Unity: Okay, so this is our 3D model. And the only thing that we have to do is go into File, Export textures. We'd just gone up, find a nice way to export it into. I like to export it into wherever I put everything. So that is in my barrel option here. Make a new folder, textures going here and just select this map. And we want, as I told you guys before, we wants to use Unity. And it's gonna do Unity five. And I'm going to standard metallic and then export these textures. So here we have unity. We can make a new project name if you want, or you can just put it in one of the games that you're making or whatever, create a project. And here we have it. We are going to be the same as before. We're just going to create a folder with models and another folder, create folder with textures. Now, we're going to put architectures in the texture folder. And of course our low boldly into the models. We can just slide it in here. We'll go cool. And yes, let's get also are other asset. Let's get a texture sin here. And you can just do the Kohler first volume, going through a spectre. And you can go lower here. You can add your other models, which, which will be the metallic Jordan here. And of course the normal map, which will be here. And here is your model in Unity, all ready and set to go and play. Very cool. I hope you guys learned a lot and see you guys in the next part, we're going to create a totally new model. See you guys there. 20. 3.1 Cardboard box: Introduction: So in this course we're going to learn how to make these nice boxes. And while they're all the same, of course, just copy them. And yeah, it's going to be a bit different. Like I am not going to look at too much reference images. I already made a folder and I'll show it to you later, of course. But I first want you guys to look at it. Yeah. Appreciate what for materials and has you can see a lot of different materials on this. You can even see that there is some tape on top. And this course is going to be very focused on the materials because as you can see, the model itself is a very, very simple. So this is essentially my folder. And you can see that I just downloaded a lot of images. And I didn't really go into Photoshop and block it out because I can already see it's just a cube, right? Like there is nothing really what I can learn about this. The only reason why I chose all of these images is because I liked certain things about them. So for essentially it's more for materials. So unlike the scholar, I did like the tape, you can see that all the hair a little bit darker. And to be honest, there are some things that are still would want to change in mind, but you also have to call it quits one day. So this is the end result and we're going to work towards this. So I'll see you guys in the first part where we're going to create the model. 21. 3.2 Cardboard box: Modelling: Okay guys, so we are going to make our cardboard box right now. And this is of course. And I did not really bother to go into Photoshop and look for a lot of reference images. What I did was I of course made a folder where I did most of my reference images inside which were images where I can see some differences in the materials and what materials we're gonna make. But yeah, the model itself is quite easy. It's quite simple, right? So the block algebra just really be a block essentially. So it will just be this default cube and we're going to use and I, we just need to scale that up a little bit around the y-axis and just make yeah, camera of a book shape, right? So I think this looks quite cool. So I'm literally just going to keep it like this. From my memory. I know that this top it is a little bit annoying to make because we have these different flaps over each other, right? And I found a way that we can do it. So you deleted this top face and we're going to apply the skills. So going through object mode a and scale, then go into edit mode again. And here we are going to give all of these edges hair on the sides. And I'm also going to do an on the bottom. Select them all, click a cone for B and create three edge loops. So control v creates like a battle, right? And then if you scroll up, which creates a third edge loop in there, so around this size should be good. And what we're gonna do now is we're going to select the top part and we're going to extrude it. So I'm going to do here x truth, and then just scale it down. So scale it down around the hair, doesn't matter too much. Then when we've scaled it down, we're going to match these up. So I'm going to select these powder vertices first than the male further x and all m. And then at last, so they merge together at the last year, the last one we've selected through this for all the sides. Okay. I'm going to hide all this bottom face for no right now. So just select the bottom face and you want to expend selection with control plus d2 times even tree click on h. And now I want to focus on what we have right here. So you can see that scaling it down doesn't really mean that this distance is the same as this distance. So tried to give those distances like quite the same. And what you want to do with this is, I want this whole edge to be on the same length as this one. So if we look here, we have the x axis. So it should be around the same length on the x-axis. So we're going to select this whole edge here. Volume. Then select this one as a last, and you can see that that vertex will be white. And now we're going to go here and then do the pivot point, put it through active element. The active element is essentially the white vertex that we have. So now we can do skill x 0. So remember this is the x axis and our skill it around the x axis for 0. So I just click on number 0. And this will just matched up perfectly, like it will align perfectly with this vertex around the x-axis. So we're going to do the same here. So select this whole edge. And then this one is last scale x 0. We're gonna do the same here. But remember, we wanted to be around this vertex here. So now, also remember that you have to do around the y axis scale y is 0. If the skill x here, you can see that a lot of weird stuff will happen. So same here. Skill y is 0. And now we have a very nice and square in the middle. These all line up perfectly and we have a Kelvin here. So if I unhide all the other stuff, you can see that the battle is still there and everything is still intact. So why do we do this? Well, first we're going to extract this whole edge loop down to the bottom around the z axis. You can barely see it, but it's this whole inner edge loop and then just fill it up with f. And now we can essentially create the flaps. I'm just gonna call it flaps for now. I'm not really sure what these are called, but I will discard flips. And what we're gonn