Blender to Unreal Engine Create Dungeon Prop Packs

1. Blender to Unreal Engine Become A Prop Artist: Welcome everyone Aneel from three D Tudor, and I welcome you to this amazing course that we have put together, Blender Tonal Engine, becoming a crop artist. Have you ever dreamed of crateing your own world in three D or wanted to work in the gaming industry, creating crops and assets for a living. Well, then this course is definitely for you. Whether you're an absolute beginner to the world of three D modeling or a game design Jedi, there's something for everyone in this course. We're were starting off learning the most basic aspects of threeDR like referencing and basic modeling, all the way up to a professional workflow, comprising things like modifier stacking and geometry notes. This truly is a game changing course. So let's dive right in, and I'll do my best to cover as much as possible in this short intro of what you're going to find in this massive course. Let's start with the resource path that comes with the course. It's by far the biggest we've ever created with over 150 texture maps of both blender and real engine. We've also included a pack n file with your very own HDRI setup, complete with a ton of variables to get you just that right love for your own renders. Also a human reference, and for sure, you're going to find over 20 decals. Basically everything you're going to need to create your very own dungeon props. We've also included within this course something that isn't really talked about or included in most other courses out there. And that is referencing. I'll be showing you what free software to use and how the professionals put together or inspiring scenes through the power of referencing. Although it's a small part of the course overall, I feel it's one of the most fundamental aspects of being a three D artist. Have you ever wanted to create three D art or have struggled with the complexity of where to begin, or maybe you've hit a wall and want to improve your skills. This course was built from the ground up to have a gradual learning curve. We'll be covering the basics of Blender UI and viewport. And as we progress through the course, you'll learn more of what Blender has to offer. This will include things like the modifiers and the inbuilt blender add ons to really speed up workflow and teach how to create a professional game prop. If you really want game assets that really pop and can be dropped in any of your favorite games, then you're going to need not only high quality texture maps, but the knowledge to put together amazing materials. I was showing you how you can easily import your own texture maps, but also using the vast resources that come with this course, show you how to use Blender's powerful inbuilt node system. By learning these techniques, you'll be able to change your materials to suit the needs of your props or gain. Learn how to render out your own season assets in both Blender cycles x, and of course, the EV render engine is all part of the course. But what I thought was an absolute must in this course is to cover the blender composite. Not only will your models really stand now in any social media. But also the knowledge you learn here will give you the control to change the log and ambience of your creations. Go nodes is new to blend three, and to say it's been game changer is quite the understatement. So, for sure, we had to include them in this course. Unlike most geometry nodes you may have built or already seen other people create, we'll actually be creating nodes with variable menus. This means everything can be done from the viewport, all the modeling tab, and give you complete control and revolutionize the way you create props and game assets. Finally, for the blender part we cover the all new asset manager, which allows you to store all of those beautiful operations in one place. You'll hear now you can save everything, whether that be props, materials, or even HDR lighting setups, ready to use in any of your own blender projects. With a few clicks, you can drop any of your own crops into any scene complete with all textures and even animation. The Unreal engine part is also huge at just over 40 lessons. We've included at the end of the blender section, giving you the option, if you wish to take your models to the next level and have them appear in your very own game. First off, we'll be creating an asset pack that we can use to directly import your props straight into real engine from blender. As we go through this comprehensive unreal guide, we'll be covering all the fundamentals to make your props game ready from materials and textures, collisions, Nagra particle systems for the flames, and for sure, we'll be covering blueprints. Finally, we'll even learn how to set up your very own turntable to render out your props right within the Unreal Engine software. During this course, we'll go through every part of building the assets from start to finish with no time wasted. You'll have plenty of time to experiment with the skills you learn on the course as you watch your own game props come to light. If you really want to create game props for games or movies, then this is the only course you're going to need. We can only show you a fraction of what's covered in 150 plus lessons in this short intro. But I hope this introduction has really whetted your appetite to get started on your own three D modeling journey to becoming a prop. So what are you waiting for? Join us on this amazing roller coaster of course and see how far your imagination can take you. Happy modeling, everyone. 2. Going Through the Dungeon Download Pack: Welcome everyone to Blender and Unreal Engine, become a dungeon prop artist. And you can see at the moment, I'm using Blender 321. But basically anything from Blender 2.8 onwards will be absolutely fine to follow along. There are a few changes when it comes to Blender three, that being the asset manager, things like the new renderer and things like that. But you should be able to follow along with Blender 2.8 onwards, apart from the fact, you won't be able to obviously use the asset manager and things like that. So I do recommend getting anything from Blender the 0.0 onwards, but I would say in the end that you will be able to get by on Blender 2.8. All right. So with that said, let's now go into our actual blender. And what I'm going to do is, I'm just going to come up to file on the left hand side. And what I'm going to do now is I'm going to go to default. I'm going to load my factory defaults. Because if I don't load my factory defaults, there might be things in here that you are not aware of. There might be add ons that I've put on there that you might not have. So I'm going to make sure that I load my factory settings. So you will be opening the same version of blender as I am. So let's click on that now, load factory settings, and there we go. This is what you would be greeted with when you first come into blender. All right. So the next thing we're going to talk about is the actual download pack, so let's open that up now. So here is the course download pack. Now, just be sure to actually make sure that you've got this downloaded. And inside, you'll see that there's a HDRI set up, which is actually a blend pulse. Just make sure you've got that. There's a human reference, OBJ, and then you've got all of your references. So let's open up our references first, and we'll just quickly go through here. So you can see at the moment, I've got a ton of references, so if I open one of them up. I'm going to bring it over to my screen so you can see you've got something like this. And basically, these actual references are for you to work along with. So if we're building something, you're going to have a good idea of what we're actually creating and you'll be able to work to these references. In the next lesson, I'm going to show you how to bring these references in. But most of the time for myself, I'm going to actually have my references on my other screen on the left hand side, out of the way. That's the way I enjoy working, and you can do the same. So all you need to do is just open up your references, drag them to your other screen, and that's basically how I'm going to work. For those of you without another screen, A who like working with references actually in the viewport. This is the viewport. Then I'll show you how to bring those in. All right. So let's go back then to our references. And you will see that we've got references for everything. So if I bring this over again, Okay. So we've got references for everything in one go. And then we've got references for just every part of what we're actually going to be building even down to the small props, as you can see. So you've got a lot of help when it comes to actually building something and you've got a really good idea of what we're actually going to be creating, which is the main thing. All right. So next, we're going to talk about pure rep. Now, pure b is a free download that can go and download. And when you open it up, it's going to open up something like this. Obviously, we have any references. Well, what I've done here is I've created this layout of all of my references, just to give you an idea of what you should be doing. If you want to create your own, let's say, pirate pipe like you can see here or Dungeon pie or anything else to that map. So what I tend to do is I tend to get a lot more references than this to start with. I tend to then get a final layout, so how it's going to look, if I'm going to be put it on social media or something like that, and I recommend you do the same. So basically, final layout and then go through each of the parts that you want to create. Now, if you're creating actually your own pack, make sure to start off small. Make sure to start off with I don't know, something like five actual references or something like that. Start off small and then you'll find that you're able to build the things and then you're able to add along to it. So this is pure. When you actually download it, then it'll open with a blank screen, and then all you can do is you can right click on any Google image and copy it. I do recommend as well that you've got a few resources out there. Google actually images is probably the worst one. The best one I've found is Sketchfab, Sketchfab because there are already three D models on there anyway, so it's a really good thing to you. Basically, you're going to Sketchfab, you find something really really nice like this image I found here. You copy screen. I'm actually going to do that. I'm going to open Sketchfab. Take a copy of something. I'm all printing the screen. I'm going to press control, and you can see this is what I've actually got. Then all you need to do is you can just press C and just drag while holding it, and then you've got your actual reference that you've cut out. So really, really handy to use this thing. So as I say, I recommend probably gain between 25 references for everything if you new. If you're not so new, then you can get away with left references because you just have a general idea of what you're building. If you knew though you need a lot of references because then you can really get down into the details like the swords and things like that. All right, so I've actually gave that there for you, so if you want to download pureb and then actually open that hole. Okay, so let's close that out the way. Okay. And now we've discussed our references. Let's go back and into our textures. Now, the texture pack that comes with this is huge and it's very, very well put together. So you can see in here that we have additional textures like blood textures, blood covers, things like that, and then we've got all of our main textures like this. You can see even the rope actually has two textures. So the reason for that is one is a slightly different color to the other one, and that then just makes it so that because we're going to make two strands of rope, we've actually got two different colors on there, which makes it really, really easy. We've got things like dungeon leather parchment, for instance. We've got even decals with blood, so you can see we've got three decals here. So plenty of stuff to actually create things from. And of course, these textures you can actually use in any of your scenes or any of your other models of your own making and things like that. So really, really handy to have this. This is what we're using when it comes to texturing or actual models and things like that. And what we're also going to supply with this down now pack is the Unreal engine actual textures as well. Now, if you're using unity and not real engine, you can still actually send through your assets because in unity, actually the blender textures actually work. It's just an unreal engine where they have a pack actual texture pack, where they don't work so well. You can use blender textures in real engine, but it needs just a bit more specialized cell. All right. So that's the actual textures. Now what I'm going to do is, I'm just going to close that down. And first of all, what I'm going to do is, I'm just going to show you how to actually have a default blend file. So you already saw that we set up our defaults here, so you can see load factory settings. Now, let's say you want to come into blend it every single time when you load it up with no light, no camera because we delete those anyway. So just click on your light, click on your camera, press the delete button, and then come to your cube, press the delete button, and now you've got a completely empty viewport or canvas, whichever you want to call it when you open up blend. But how do we do that? We go to file. We go to defaults, and we save the start up file. Save start up file. I'll ask me for one, save it and there we go. Now, every single time I open up blender, this is what the viewport is going to look like. It's not going to have the camera. It's not going to have the light and it's not going to have the cube anymore. That's a really, really good thing. Now, the other good thing about that is because when we're bringing in Blender addons and things like that, the inbuilt add ons, always setting up some lighting or something, you might actually want the same lighting every time when you come into blender. That's why it's very, very useful to actually know this. Okay. All right, everyone. So that brings us to the end of the first lesson. On the next lesson, what we're going to do is we're just going to go through all of the blended basics that will include turning the camera and all that good stuff. All right, everyone, so I hope you enjoyed that, and I'll see in the next one. Thanks a lot. Bye bye. 3. An Introduction to the Blender Basics: Welcome back everyone to Blender and Unreal Engine, becoming a dungeon prop artist, and this is where we left off. Absolutely nowhere because we didn't really do anything. So what we're going to do now is we're going to actually go through some of the blender basics. So when we come back, we can actually start creating our first actual prop. All right, so I'll introduce you now to Blender Basics. Hello, everyone, and welcome to the basics of Blender part of the course. I recommend grabbing a pen and paper or a word document and join down these keyboard shortcuts. Here we'll be going through the very basics of Blender and the keyboard shortcuts you will need. So with all that said, let's get started. So on the left hand side, your kit see I have key casting on. This will show you the keys I'm pressing in real time, and this will be on pretty much, if not all of the entire course. The next thing I'd like to show you is any new keys we use, there will be a small animation that will appear down at the bottom right corner. This will only appear the first time we use that particular new key, and I think it really helps keep the floor of the lessons to a decent rate, both for beginners and those more familiar with blender. Because they only appear once, they won't plow up the screen, and there's always screen casting to rely on. Also, down the bottom right hand side, you'll see a detailed animation of anything that needs more context. This is useful if you're new to three D model in particular because there's a lot of jargon and technical terms that need a decent explanation or more context of why we are doing something. I recommend then, if you need more information, jumping onto the blender website and checking out their detailed explanations of pretty much anything blender related. So now, when we mention blender viewport, this is actually a viewport, you can see it. All of this gray area here is actually a viewport. Now, if we go to the UV editing bar up here, you'll see that the left hand side, it's down two screens, and if I say the UV editing viewport, all that means is just this gray box over here. So now, let's go back to modeling and let's go a little bit further into how to move around in actual blender. So the first thing I will discuss is that the middle mouse port actually, if you hold it down, you can rotate anywhere within the blender viewport. And then if you want to Zoom, is just scrolling in and scrolling back. Now, you can also press control shift and the middle mouse, hold it down, and then just push it forward or push it back and you can scroll in very, very slowly. Now, to pan, all you need to do is you need to hold shift bar and the middle mouse, and then you can pan from left to right. And to zoom to the object, which is very handy. Let's say you're really far out and you really need to zoom to it. All you need to do is press the dot on the actual number pad, and that will zoom you right in to the object you want to Zoom to. So for instance, if I'm zoomed out and I want to zoom to my light, for instance, it's very easy then to come across the scene collection, click on your light, press the dot on the number pad, and that will zoom you right in. Now, the next thing we need to discuss is just deleting objects. So to click on an object is just left click. And then what you can press is you compress the delete key, and that will just delete it out of the way. So I've just let my light there, and now I'm going to come across to my camera and actually delete that out of the way as well. So the next thing I want to discuss is if we click on this cube, and we press Shift D, what you'll notice if you move the mouse now, it's actually going to make a duplication of my actual cube. If I don't actually click anything on my mouse and I just click the right click button, it will drop that back in place. Now, you can't see there's actually two cubes in at the moment. We there actually is. So we need to bring in the gizmo and the Gizmo is basically something that we can move things left and right up and down things like that. So if I press shift spacebar, come down and you'll see we've got one that says move And now we actually have our gizmo. And if I pull this to the right hand side. You can see now we can pull this away and now we're able to move this around. You can also freely move this as well. If you press the G key, you'll notice if you've got it selected now, you can move it basically anywhere around the viewport. You can drop it back with the right click, or you can put it wherever you want it. So G, and then you click left click and it will put it wherever I wanted it. Now, also, why the dot born the Zoom tube born is important. If I press the dot born now, you will see that if I just zoom M and hold the middle mouse and rotate around, you'll see that I actually rotate around the origin of this actual e. Now, if I click on the other Que and I press the dot born, you can see now that I'm actually rotating around the origin of this e. Now the next thing we want to discuss is object mode and edit mode. At the moment, we are in object mode. We can't really do a lot with this cube except move it round. Now, if I press the tab born, we will then go into edit mode, and in edit mode, we can actually do a lot more things with this cube. So up on the top left hand side here, you will see that we've got three different icons. One of them, this one here is vertices. The next one across is edges, and the next one across is face. Now, if we're on vertices and we come over to this vertice, for instance, I then, if I press shift space bar to bring in my gizmo again, I then can move this around. Now, if I come into edge select, I can grab the whole edge and move this around like so. Finally, if I come in to face select, I can now grab a whole phase and move it around like so. Now, the other thing is, if we come to our vertice select, I can select a verte. You can also select another vertice or another object or something else like that, just by holding the shift button and actually clicking on the other vertice or the other object. Or if we come to face select, for instance, we can grab this phase, Shift select the second phase. And this is how we can select multiple objects. Now, the next thing we need to discuss is the axis. So we can see we have a red axis and a green axis. Now, just to show you what this actually relates to, if we come up on the top right hand side here where you've got these two interlocking balls and you click this little down arrow. You will see that we could turn on the Z axis. Now, we're just going to turn this on just to show you what I mean. So if we turn that on now you'll see another axis appears here. Now, the green axis is representation of the y. So if I want to scale this out on the y, all I would have to press is S and y, and now you can see, I can scale it out along the axis. Now, if I want to scale out on the x, so that's the red axis, I'd press S and X, and I can scale it out along the axis. And again, the same thing. So S and Z, the up and down axis is Z, and it's S and Z, and then you can scale it up and down. Finally, as well, this is also important if we actually want to rotate it because we'll rotate it on an actual axis. So what I'm going to do is I'm going to grab the whole of this by pressing the a button, and then I'm going to rotate it round. So I want to rotate it on the y axis, so it's, y, and then you can see it will only rotate on the y axis, and no matter where put on the mouse, it will always rotate on that axis. To click it back to where it was just again, the right click. And if you want to turn it, all you need to press is and y again. And then let's give you a degrees. All we're going to do is going to press 90 on the actual number pad, so nine zero, Enter button, and now you'll see it's rotated by 90 degrees. So just to summarize that, S is scale, and is rotate. Normally, when we scale something or we rotate something, it's followed by the actual axis, and then it's followed by a number. Specifically when we rotate something. Normally, when we scale something, we just hit scale, pull them outside, and we'll scale it up. When we rotate something, it's normally, followed by the axis, followed by a number on the number part. So now, the last thing I want to discuss is if we go to object mode now, we need a way to actually view this a little bit easier than the way it is at the moment. Let's first of all, turn off the t axis. And what we'll do now is we'll use the number pad to actually view this. So if I press one on the number pad, that will go actually into the front view of our viewport. If I press three on the number pad, that will go into the side view. And if I press seven on the number pad, that will go into the top view of our viewport. Now, the opposite to get to the opposite, all you need to do is you need to hold control. So on this occasion, we'll press control and seven, and that will bring us to the bottom of this object in the viewport. Control one is the rear of the object and control three is the opposite side of the object. So now, before we finish this section of the course, I need to show you something that's also very important. So if we come up to the top left hand side, you'll see you've got a button here that says edit. And if we come down to preferences, one thing that they should always do that when you first download a blender, you should always put on the status bar, which is this button here. And if I click all of these on, you will see now, If I click them all on and I close that down, down at the bottom right hand side, you have all the details that you need. For instance, we've got how many faces and how many triangles are actually in the scene and the objects are in the scene and the memory and V ram that's actually taken up. This is really important if you want to get a good idea of how much power your computer is actually using and how many polygons and triangles are in the scene. Polygons and triangles, you'll learn more about as we progress through the course. And that pretty much covers the basic of blender and I hope you'll found that both helpful and informative, but more importantly, easy to understand. So now, as they say, on with the show, Welcome back, everyone. So I hope you got a lot out of it. And now you should basically be able to move around the viewport. You should be able to bring in a cube at least or something like that, and now we'll move on to the next lesson. Thanks a lot. Hope you enjoyed that, and I'll see you in the next one. 4. Working with References: Welcome back to every one to Blender and Unary Engine becoming a dungeon artist, and this is where we left off. Absolutely again because now we're actually going to start bringing in our references. Now, let's first of all, open up our references just so I can show you once more, so my references are here, and you can see we've got all these references. Now, what the aim of the actual core series to start off with the easy things, like table and chairs and finally move up to the more difficult things like the weapon racks or the actual a lot of these little assets with candles and things like that. So it's going to give you a linear curve where when we first start, we start off with a very basics and then we move on. Through to things where you'll be using things like modifier stacking, you'll be using curves, you'll be using the inbuilt blender add ons and things like that. That's the goal here, and I think we'll actually achieve it. What I first want to do though is I want to bring in an actual reference of our table and chairs because that is where we're going to start. If I come in and I press shift A, you can see I open up the primitive menu. The first thing I want to do is you can see where I've got mesh here. You can see we've got all of these little primitives. Well, if we come down here, you'll also see that we have something called image. And then if you go across, you'll see you've got a reference. If I click on this, now you'll see that we open this up. Now, if you open this up and it's just writing, you can see here that it might look like this. All you need to do is go with the right inside where these little squares are, click on that, and then you'll see your images. Now, if your images are a little bit small, click on this little down arrow, and then we can change our images to tiny or too large or too huge or whatever you actually want to change them as regards to scales. The first one I want to bring in is my table and chairs. I'm going to do is I'm going to double click on this one, and you'll see table and chairs comes in. You'll also notice that I've actually got a move tool or a gizmo in here, and you probably won't have that. To get that in, you just need to press shift and space part at the same time, and then you can bring in a move tool. Now, if that's not working for you, just press the T button, and what they'll do is I'll open a little menu up here on the left hand side, and the move tool is actually this one. You've got a rotation, you've got a scale and things like that. But we won't be actually using those because you can use those in a much simpler way. All right. So I brought this reference in, and you can see at the moment that the reference has come in, but it's skewed. And if I try and rotate it, for instance, it's going to be very hard to get this straight on. Rather than do that, let's delete it out the way with delete key. And then what I'm going to do is I'm going to use my number pad. So one on my numb pad to get me that straight on view. That's the way that I want to actually see it because then when I bring in my reference, it's going to be also be straight on and it's not going to be skewed. The number pad, by the way, we're going to be using a lot because you can press three to go to side view, seven to go to top view, as I showed you in the blended basics. But for us, we're just going to press one on the number pad to get that's that straight on view, and then we're going to press Shift A. Come over to where it says image reference, and let's now bring in our table and chairs once more. So bring it in. And now you'll notice it's perfectly in the right place. Now, as I said, for me, I am going to be using my references over on my other screen. That's the way I prefer to actually do this. But for you, you might actually want to bring your references in. So I'm going to put that back over there, and this is my first reference that I was going to actually wit. Now, if you want your reference bigger, just press the Spot and you can scale it up then to whatever size you want. Something like that should be absolutely fine. Now, we have our reference in. What we now need to bring in is a human scale to give us some idea of scale because whenever you're building anything in blender, it's always best to with scale. That includes if you're working on things like buildings, elephants, buses, it doesn't matter where it is. You really want to be bringing in a human scale just so you've got an idea of how big the actual things going to be. This is important because if you're doing anything with physics or animation, Well, you're sending it through to a gains engine. You don't want to be sending it through in it to be absolutely huge or really small. So it's always a good idea from the get go to work to a scale. So let's come up then and go to file. And what we're going to do is we're going to import and we're going to import an OBJ. This one down here where it's the OBJ. Click on this. And now let's go to our references. So quickly on my references. Click the Backbone. And here we are is my human reference in my course download pack. The double click there, you'll see here he is. Once I bring him in, you'll see he comes in like this. He comes in orange, well, a dark orange at the moment. And you can also see that when I try moving, His orientation is all the way over here, and it should really be in the center of him making it easy for me to move him and things like that. Now, you should never scale him up, of course, because that would defeat the objects. You don't scale him or anything like that. Just what you want to do is you want to right click anywhere in your view port, right click, set origin to geometry, like so. And now you've set him and whenever you move him now, he'll move from the center of his mass. What I'm going to do now is I'm just going to delete my actual reference. As I say, I don't like working with references in my actual viewport unless I'm using it as a schematic, for instance, if I'm working towards a bridge and I need to know where the parts need to be and things like that, then I'll use it. But to working towards a reference so I know what I'm actually building, I prefer to use it on my left screen. I'm just going to come in, delete my reference out of the way, and now we can actually begin. All right. Let's actually start creating the table. I think that'll be the right one to do. So what I'm going to do is, I want to press shift A, mesh, bring in a plane. I want to press S and X. What that does is it's going to pull it along the S axis. And then finally, what I'm going to do is I'm going to get it to be the right size. Again, it's up to you how big you want your table to be. But if you imagine him sat down at the side of it, you can see if I pull this up to where it's going to be roughly, maybe something like that. You can see this would be a fair size table at the moment. I'm going to pull it over. Put it near him just so we have an idea of the size of the table. I can also see that this table is probably a bit wide this way. So I'll do is I'll press S and y and bring it in like so. Now, all this has been done in object mode. In other words, you can see how it's yellow color around here. If you press the tab button, you will see then that you go into edit mode. There is a difference between them. This is object mode, this is edit mode. You can also see when I mean object mode, up on the left hand side here, it says object mode. Press tab again, you can see a edit mode. You can also see that I've got some options in here in edit mode and not object mode. Now, they're very important. So we can see that we've got three of them. This is actual vertices, this one is edges, and this one is faces. What do I mean by that? This grabs these little points here. This one, which is edges, grabs the edges around here, and finally, this one, it's faces, which means we can grab the actual face. Now, there is a short cut to actually click on these as well, which is one for vertices, two for edges, and three, four faces. If you want to use those, then by all means, go ahead. If you see me actually turn them to a different one really fast, just means I've used the actual short cut, but it should come down the left hand side here as well. All right. Now we've got that we want to do is we want to bring in some edge loops to give us those actual plants award that go across to make our actual table. Let's press control. And what we're going to do is we're going to basically bring in more edge loops. So you can either use the mouse and scroll up like so. So scroll the upwards and backwards, or you can actually press it on the actual number pad and bringing them in that way. Then what you want to do is you want to left click and you'll see at the moment, I'm able to actually move them. I don't want to move them because I want them to be in the center. So all I need to do is right click and then it's going to put them in the center for me. Now, the next thing I want to do is I want to mark some seams on here, and the reason I want to mark some seams on here is because I want to make it easy to split up these planks of wood. So I'm going to do is I'm going to come over to Mag select. I'm going to click on this or press number two. Then what I'm going to do is I'm going to go down each of these, like so, and I'm going to right click and come down and mark a seam. I'm going to show you why that's important, why you should be using mark seams. If I come over now and I try and select this whole thing so I can press L, if I over over it, which means I'm going to select the whole island. You can see it selects everything. It's all highlighted now. Now, if I want to come in though and select one of these individually, I can actually come in and click on each one of them, or because I've actually marked the seams, if I press L, it will only select up to where I've actually got the seam mark. So this is really handy if you want to select large pieces of mesh by adding seams in, it just makes sure you can select them in one go with L with face select on. You can't do it with edge select or virtual selector, anything like that. It's just with face select. But it does make it very, very easy. Now, the next thing is, I want to add in a few more edge loops, and the reason I want to do that is is because I want this to look a little bit rough and ready. So what I'm going to do is I'm going to come in. I'm going to press control. I'm going to push my mouse wheel up a little bit, bring in five edge loops or something like that. Left click, right click, and there we go. So this brings us to the end of this lesson. You should have something like this at the moment. As you can see if a press tab, there's nothing really actually going on. It is actually under the hood in the actual leading mode. You should have some seams marked across. If I double tap the A quickly, that will actually unselect everything, and you should have some edges going this way that aren't marked sams. All right, everyone, so I hope you enjoyed that. And on the next one, we should actually get this table finished. 5. Starting our First Model: Welcome back to everyone to Blender and region, becoming a dungeon prop artist, and this is where we left it off. All right. So now what I want to do is I actually want to come in and split these off from each other and basically make them into plank. So I'm going to do that. Well, I'm going to come in and talk and do exactly what we just talked about. I'm going to come to each plank, pressing L on each of those. And then what I'm going to do is I'm going to press the y button. And what the y button does is it separates everything that's actually highlighted. So you can see a press Y now and you can see that nothing's really happened. If I press the G button, which is the free movement button, you can see now the role actually separated. Now, if you do make a mistake and you separate things and you don't really want them separated, you can go back, of course, with controls. Well, if you've done it and you've moved on a little bit. Now what you can do is you can grab everything. So grab everything in edit mode. Come up to mesh, and you will come down then to clean up and you'll see one that says merge by distance. Click that on and you can see now remove 28 vertices. And what that means now is, if I come in, let's say, this one, press the G, you'll see they're all joined up together. Really, really handy to actually use that if needed. So I'm going to press L on each of these. Press the y one, press G, and there they are. They're all separated. Next what I want to do is I want to make them look like actual planks of wood. So what I'm going to do is, I'm going to grab everything with the a bottom. I'm going to come up to where these two interlocking links are. And what I want to do is I want to put them on individual origins. And I will show you the difference. So medium point, if I grab them and press S and y because I want to squish them in this way, you can see that we just bring them all in together. That's not what I actually want. What I want to do is bring them in individually. So if I put that on, press the S and y. You can see now I can bring them in, and he pressed out, we've got some planks of wood. Now the next thing I want to do is these planks are actually too straight and I don't really want that. That is why I brought in some edge loops because if we didn't bring in these edge loops in each of these, we wouldn't be able to move these because it would just be one edge going across, which would basically leave you with just one polygon or one face on here, there's no room for movement. So what do I mean by that? If I come into my vert select, grab one of these verts, press the G board, and you can see now I've got some movement there. If I didn't have any of these in there, I wouldn't be able to move this because there would simply be no vertice there. Now, let's come into Edge select. And what I want to do now is I want to kind of mess these up a little bit. I want to make them a little bit random. So if I come out up now to something called proportional editing, which is this board here, basically what I want to do is I want to click this down arrow and I want to put it on random. And then what I'm going to do is I'm just going to highlight one. Doesn't matter which one you highlight, press shift space, and the reason I have to press shift space is because I need my movement to. When you're going to edit mode, you'll see that we don't have this actual gzmo we have to just bring it in again. Now what you can do is you can pull this out and you'll see that you end up with this circle on here, and you see because it's randomized how all of these are moving actually really randomly, like so. Now, the other thing is, if you can't see a circle, you can scroll the mouse healing or pull it out, and what that'll do is it'll actually give you a lot more power depending on how big the actual circle is. I'm going to bring it in fairly out. I'm also just going to press controls head because this one wants to be really, really fine, so it wants to be a very, very little movement of doing it. Something like that, a little bit more. Then just work your way along, just moving them out, Just a little bit. Press the tab board, check out your work and there we go, you can see how nice that actually looks. Now, let's press tab again. Turn off our proportional lens what I'm going to do now is, I'm just going to come to the edges, and I'm going to pull it out just a little bit, pull this one in a little bit. Now you can see we've got some nice variation. What I'm also going to do is I'm going to press R and Z. The actual is going straight down and turn it around a little bit, so you can see now that's looking really randomized, which is really cool. All right. Now let's do the same on the other side. You can see how quickly we've just put this together as well because of the actual way we're actually doing this. All right. Now we've done that. What we need to do now is you need to make it a solid piece of wood. What I'm going to do is I'm going to press A, grab everything, and then I'm going to press to extrude them down. If I press now, you can see we can extrude them down. You want these to be fairly thick because it is a table after all. Something like this would look about right. Next of all, what you want to do is I want to probably think about taking off all of these seams because I pretty much use them, and when it comes to putting on materials and things like that, we're probably not going to need them. I'm going to do is I'm going to press A. Now, because we're in edge select, we can come down, right click and we can clear our seams. Now, if you're in face select and you grab everything, so press a to grab everything, you'll find that when you come down and right click, you won't actually have the option to clear seams. If that happens to you, just press control instead, and then you can come down and you can clear seams that way. All right. So now let's move on and actually create the sides of the actual legs. Now, you will see at the moment, if I bring in a que, my cube will come wherever this cursor is. So if I press tab, press Shift A, bring in a que, you'll see my cube comes over here. That's not w one. If I put my cursor over here, we have shift right click, you'll press Shift A, bring in a que, and it comes right in there. Again, not l one, but what you can do is you can come to the actual top of your table, and you can see we've got an orientation right in the center for is anyway. Now I compress shift S, cursor to selected, and that then we'll put the cursor wherever that orientation, that little yellow dot actually is. Now we bring in a cue, you can see that it comes in perfectly near enough in the place where I actually want to. All right. Now let's create this table. So I'm going to do is I'm going to make this smaller and going to have a solid piece of wood coming down near enough the floor. If I bring this down to something like that, pull it out a little bit, S and y, let's pull it out, and then let's make it a little bit thinner because at the moment, it's way way too thick, S, bring it in. Something like that, pull it out, so we've got still edges on our actual table, maybe a little bit in, something like that, I think. And then what we're going to do is we're going to press three on the number pad, and you can see at the moment that I need to bring this near enough down to the floor. So what I'm going to do is, I'm just going to bring it down to here, and then I can put actually a bottom bottom going across, holding the rest of the table. Now I'm going to do is I'm going to tilt my mouse over, press the tab bottom, make sure I'm on actual face, let grab this top face, press three again, and then I'm going to pull it up two, just underneath this part of the table, like so. All right. Now I can grab the bottom of it, press three again, and then I'm going to press S and y and just bring it in a little bit and give us some actual shape to our actual table. That's looking pretty nice. Now, what I want to do is I want to give us a bottom and a top as well. Let's do that now. Now, again, we've got our cursor right over here in the center of the table. I don't really want it there because what I want to do is I want to actually bring things in so that based around this new thing that I'm building. If I press Shift S with the bottom of it selected, so Shift S, cursor selected, and now I can do is I can press Shift A and bring in a new Q. Now, you will notice that big menu disappeared and the reason that disappeared is because I'm in edit mode at this point. We can work in both edit mode and object mode. The only difference is if you're working in object mode, you'll bring in basically a new object. I'll show you the difference. If I press Shift D, bring in a cue, press G, just to move it over. You can see now we've actually got two objects. Now, what you'll have to do in the end, you'll have to join all of these objects together. We're going to be joining a lot of objects together anyway, but sometimes it's just easier to work in edit mode. To join them together, you just grab them both. Press Control J, and then you'll see now the both join together, and when I move these, you can see that come together. Just going to press control just to go back because I don't actually want that. I go to delete this cube out the way. And now I'm going to do is I'm going to come in edit mode and we press tab. Ship, bring in a cube. Now you'll see that we can actually build with this cube while we've got this other part in as well. I'm going to shrink it down with S, and then I'm going to press S and x, bring it in, so then we're going to bring it down just to the bottom of here. Press three on the number pad, and what I want to show you is now this line going over here. This is basically the viewport line and you want to use this basically to base everything on. You can see our human when we brought him in his feet are on there and you can think of it as a floor. It's a really easy way just to make sure that everything's level because Blender when you export things out, does use this as the actual floor. If I sent this through to unreal engine, now, it would be stored on top of the floor in Unreal engine. This is basically the world origin, and this is the floor. That's how you have to imagine it. All right. Now I'm going to do that. Now I know that. I'm going to come underneath, grab this face. I'm going to press three again. What I want to do is I want to bring this up to the floor. Now, you never want something directly just bang on the floor because that's not going to work either because you might end up with some things floating above it and you don't really want that. I brought you up just below that actual green line. Now I'm going to do is I'm going to grab each of these sides. I'm going to press three again, and then I'm going to pull them out with S and y, so let's pull them out and you'll notice at the moment, they don't pull each other out. The reason for that is because we used individual origins when we brought these out. We need to come in now and put this on medium point. If it's ever not pulling out correctly, just change the actual transformation. So it's called transform pivot 0.2, medium point or individual origins. Press three, and now you'll notice when I press S and y I can actually pull them out like so. All right, so far so good. Now, we might as well, grab this and put it above there, what I'm going to do is I'm going to press L. I'm going to press three. Then what I'm going to do is I'm going to press Shift D, and then I'm going to press enter without moving my mouse. If you press Shift D and move your mouse at all, you'll find that this copy doesn't come in to where you want it. Now the problem is with using copies, again, you're going to bring in some problems. If sometimes you press Shift D twice and you're not aware of it, you might have problems with UVs that you're not aware of. Again, if you're having problems, press the A but not on all of the mesh, come up. Clean up, merged by distance, eight vertices removed. What that means is it actually got rid of the vertices which are overlapping here because I pressed shift D. You can see this is single again. Now I press three press shift D. I want to bring it up. Just under here, and then what we want to do now is shrink that down. S and y, bring it down, like so. There you go. You can see we've got a really, really nice stop to our table. One thing is I just want to bring this up because it's a little bit too thick. Something like that looks really nice. Press tab, double tap the A. Now, finally, before we go, whenever we build in along at the end of each lesson, always come up and save out your work. I'm going to go to file, save and I'm going to put it in the actual references, the course download pack. I'm going to make a new one. If you come up here and you can click B plus, and we'll just call this blender build. Okay. Like so. And then I'm going to double click it go in, and one I'm going to call this is Djuon props. Like so. I'm going to click Savas and there we go, is saved out. Now, next time when you want to save it, you're just going to go to file and save. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 6. Working with Modifiers: All right. So now we need to do is we need to actually put some kind of struts on the bottom of here. Let's do that now. We've still got our cursor in the center. Let's just bring it in. We can join it together in a bit anyway. Let's shift A and bring in a another que. Let's press S, and what I'm going to do is I'm going to bring it down. Just so it's very close to the edges of this part here. Then I'm going to bring it out Then what I'm going to do is I'm going to bring it up a little bit. I want to bring it both together. I'm just going to press S and there, bring it up a little bit. Then what I want to do now is I want to bring it in. I'm going to come in, press tab, make sure I'm on face select, grab this back face and bring it over here. Now at the moment, it's actually stuck on either side of there and I don't really want that. I'm going to grab this face and grab this face with shift select. Then what I'm going to do is I'm going to press S and X and bring it in just so it's actually in there now as you can see. Now what I want to do now is, I want to actually bevel it off on here. The way I'm going to do that is I'm going to come up to select or two on the actual keyboard. Grab this edge, press control D. Then what that's going to do is it's going to enable me to actually pull it out like so. Now, the first thing you should do though, before actually bevel in office, you should always reset your transformations. I'm going to press tab, I'm going to press control A. Come down to s is all transformations, and then I'm going to actually reset that. Now, before I do that, I'm just going to show you why I'm going to do that. If I come in and a press control B and bring that over, you can see that it's beveling in a really, really weird way. Now, on the left hand side here, you can see that I can turn up my bevels as well. I turn up the segments, I can turn the shape up and things like that. But at the moment, Blender still thinks that this is a Q. It doesn't realize that we've changed the shape of this. When it comes to beveling it, you'll see that it bevels out weirdly. Again, if something's not beveling correctly, just go in. Reset all the transforms with control A, A transforms right plate origin to geometry. Now give the bevel to try again. If I press control B, you can see now it's beveling much better than it did before. I'm going to do now is going to press control B and I'm going to pull it out and now you can see that it's beveling off much much nicer. Now, what I want to do is I want to actually change the shape of bit. In other words, I want this to come further over there. Just going to put my shape on one because that makes no difference. What I'm going to change is the whip so you can see now that can actually change that width over to something like over there. Then what I can do is I can actually bring in my segments. If I come in and bring my segments up to let's say three. You'll see that we end up with something like this. Now this is where you can actually change now the shape. If I come in and bring this down, you can see now, I can actually change the shape of this actual bevel. I can have it something more like that. Now you'll see that at the moment, it doesn't look right. It's still looking a little bit flat and things like that. What I really want to do is I want to grab it, pull it up and then pull the bottom bit out. I'm going to come in with L pull it up, come to the under knee, press three or face select, grab this bottom face. I don't really want to extrude it or anything like that. All I want to do is just pull it down like so because then we've still got that nice edge on there that we're actually looking for. That's looking pretty nice. Now, the one problem we've got is we need one on the other side, and of course, we need this on the other side as well. We need to do that now. I'm going to do is, first of all, I'm going to mirror this over to the other side. The other thing I want to make sure is that I'm happy with the thickness. I think this bottom part Let's have a lot. Yeah, actually, it looks okay. I'm just making sure that I'm happy with the dimensions. I think this pot on here needs to go all the way over to the next one. You can see here, these are floating in the end and we don't really want that. If I grab just this pot, I'm going to come in, press the elbowd, press S and y, pull it out. Two near enough, the halfway points on here and that should be absolutely fine. Press the tab boon and now it just looks much better. I might actually even pull this out a little bit further, S and pull it out a little bit further. Yeah. I think that looks just much better, much more support like so. Now let's go back to our actual bevel. What I want to do is I want to grab my bevel and I want to put this side as well. A few ways of doing this. What I'm going to introduce you to is our first modifier. Now at the moment, your cursor might be over here somewhere, and I'll show you why it's important where your cursor is. First of all, we'll reset our transformations again, always important that you do that. All transforms right plex, origins, geometry, and now let's bring in an actual mirror. Little spanner over here as you modifiers tab, add modifier, come down. Mirror and you'll see nothing happens. If you press the win, you'll see it rotates on itself. Now, that's not what we want. You will see though, my cursor is over here, if I right click and set origin to three D cursor, you will now end up with it mirrored over from where the origin is. Your origin decides on where it's going to be mirrored over. Now, if I take off the y and the x and then just put the y on, you'll see that it's mirrored over here and we could move these across, put the wrong way round. We could rotate them round and things like that, but that's not really going to work properly. The easiest way to do this Is to come to our center part of this. Let's grab this, for instance. Let's make sure run face select and let's grab this face. Since this is basically where we want it over each side of the center of here. Now what I can do is I can press shift cursor to selected, that puts my cursor right in the center. Now I can go back to this part here, and that can simply right set origin to three D cursor. Now you'll see is put it over the other side. The reason is obviously that the origin of these now has been put in the center where the cursor is. Now you can see we've got these over the other side and that's All right. So now we can over over our mirror. We need to apply this modifier, there are a number of ways of doing that. As we move on in the course, I'll show you different ways of actually doing it. But the way that we want to do it now is just click on the Little down arrow and click Apply. There we go. We've applied our modifier and we've got our mirror there. Okay, so now we want to do is we actually want to put our mirror over to this side. So what we want to do really is we want to grab the center of here. So I'm going to do is I'm going to grab my main table. Press control A all transforms, right click origin to geometry. Again, I'm going to press Shift S, cursor to selected. Now, let's come to these parts here, and you can see at the moment that these are two separate parts. Let's join them together. So I'm going to grab this one, shift, select this one, press Control J, and join them together, like so. Okay. Now, once we've done that, we need to actually reset our transformations again just so we don't have any problems. Control A all transforms, right click. And this time, we want to set the origin to our three D cursor. Since we're mirroring it over to the other side. Now we're going to come over again and modify bring in a mirror. There you go, you can see it is pole with the other side. If you's not going right, just mess around with the x and y because it will be one of those. All right. Just make sure you don't pm both font because if you pm bofont you'll end up with actual parts that are over the top of each other and you just can't see them. Just make sure it's only one of them on. Okay now we want to do is want to apply our mirror. Now you can do it another way. If you're bro, you modify it, any modifier is press control, you can actually apply it that way as well. Really good. If you've got a load of modifier, you want to apply them one after the other, just control a control. Okay, so now we need an actual support in our actual table. So let's press chip, and what we're going to do is bring in a cube, press the S bottom, I'm going to bring it down, like so, and then we're going to press S and X and pull it out. Now, you can see that this is probably a little bit too thick. So I'm going to press N d, squish it down a little bit, something like that. And then what I'm going to do is, I'm just going to make it a little bit more different from the other parts. I'm going to come in with an edit mode tab, grab this bottom face, press S and it and just pull it in a little bit. And then finally, I'm just going to pull it all out a little bit. S next, pull it all out a little bit like so. All right. So now what we need is just one more support. So I'm going to come in, I think and bring in one support just under it, a smaller support. So I'm going to press shift day again, bring in a Q S pull it out and as up to here. Don't actually want to going through the whole table. Bring it down, so Jaws comes under there and there we go. Absolutely, perfect. Double tap the and there we go. Now what we want to do on the next one is we want to bring in some metal bars that are going to come across here to actually hammered in these planks of wood and hold it together. Again, we're going to go up to file, save, and I'll see you on the next and every on. Thanks a lot. Bye bye. 7. Finishing our First Basic Mesh: Welcome back everyone to Blender and Unreal Engine, becoming a dungeon prop artist, and this is where we left off. Now, let's make these little parts that I'm going to come in here. The first thing I'm going to do is I'm going to press Shift A because I've already got my cursor in the center. If I press Shift A in object mode, I am. Shift, bring in a plane. So we're going to start with the plane. It's just going to make it a little bit easier. Then what I do is I'm going to shrink this plane all the way down. I'm going to press seven to go over the top of my table, and I can see basically where these actual planks of wood are. Now at the moment, I'm just going to pull it up, I want this basically to be in the center of these. We'll get a little bit more creative with using our cursor. What I'm going to do is going to press tab, I'm going to come in with my face select. I'm just going to grab this side and this side instead. I want to press shift cursor to selected and now press tab. That means basically my cursor is in the center of both of these planks, which means that when they come to hammer, the bolts in and things, it would be right in the center. Now I get my plane. Press S selection to cursor keep offset. Now it puts that right bang where my actual cursor is, and that's really, really handy because now I can just pull this up. I can press seven to go over the top. I now know that this is perfectly in line with these. All right. So now let's pull it out. S and wide let's pull it out. Now we need to give this some actual shape. What I'm going to do is, I'm going to press tab I'm going to come into each of these ones here. So I'm going to press control to bring in an Edge loop. Move my mouse, well up something like that. Let's say, something like this, I think should be absolutely fine. In fact, I'm just wondering if I should come in and just put an actual edge down each of these. I probably going to be better like that. So what I'll do is instead of doing that. I'll press control, and I'll bring in two, so one, two, left click, right click. And now what I want to do is I just want to pull these out from each other and get them in the center of each of these. So if I press S and y, I can pull them out and put them in the center, and then I can press control, left click, right click and put that right in the center of there. So I should have three, and they're actually lined up now with the actual planks of wood. Now, what I need to do now is I need to create these bits going in, and that's going to be hard at the moment because of the fact of I've only got one edge loop. If I come in and grab all three of these edge loops, what you can actually do is you can actually press control B and bring in a bevel. You can see because they already had that on three that we can bring in this bevel now and it brings in actual three of them. That's really handy. Now, the other thing is, when I bring this in, I want to bring it in slowly if I pull this out, you can see I've not got a lot of control. But if you actually hold the shift button, you can see now you can actually slow it down and bring it out. I'm going to bring them out to something like that. I'm going to left click then and drop those into place. Now I want to do is I want to bring these parts actually in, so I'm going to come to my face elect, grab in each of the middle faces now. I'm going to press S and X and bring them in like so. Then what I'm going to do now is finally bring this, this edge on here, also in. But if I bring it in. If I grab it now and press S and X, you can see it comes in like that really. I don't really want that because I want to have a little bit. I want it to be a little bit smaller. So what I'm going to do is I'm going to come in press control left click, right click. Come to this one, control, left click, right click and now come to each of the ends and then press S and X, and now you can see bring them in tab so you can see that looks really, really nice. Now, on mine, I actually made these a little bit smaller, but it's up to you. You've got the skills now to create these, so it's up to you how you want to do that. Now the next thing I want to do is basically I want to actually bring these out. So what I'm going to do is I'm going to press tab, I'm going to grab the whole thing, and then I'm going to press like so. And then what I'm going to do now is I'm actually going to bring them in a little bit, just to make them a little bit more ornate than the ones I actually create from the reference. So if I press seven, now to go over the top. In fact, I'll show you first, because I've pressed, it's not actually got anything selected except that top part. If you miss click or something like that, and this top part is not selected. I'll show you a little technique how you can actually select everything. If you come to your face select, grab this face, and then just control click on this end face, you will just actually select them going all the way down. That's a really, really handy tip if you ever just want to select a whole row of back short faces. Let's go to the top again. What I'm going to do now is I'm going to press the button. This is called the insert button and it's basically going to insert from where my cursor is. If I press, you'll see you get a line there, pull it in just very gradually if you need to. Hold the shift button to bring it in slower. Now, you will notice this is not coming in properly. And the reason is again, because we need to actually reset our transformation. So let's press tab, press control A all transforms, right clip seg into geometry. And now let's go in. So tab again, press the i board, and now you'll see it goes in really, really nicely. Now I've brought them in. I want to bring this up, so I'm going to press, pull it up a little bit, press the tabboard and now you'll see you end up with something like this. I think it's about time to actually start making this look much nicer than what it does. What we're going to do while we're in object mode is we're going to actually bring on cavities. Now, you have four different options here. Now, we've not gone through these, so we'll quickly go through these now. We've got one that is our wire frame. If I click on this one here, you can see, I've got our wireframe. A little bit later on the cross, I'll show you how to click that one on without actually just coming up here and clicking it over here. But for now, just click it over here. You can see all the wireframe of our human of our table that we've built. The next one is the object mode. This is the one that we're actually working with most of the time. The next one is material mode. This will show basically all of your materials and things like that. It won't be lit or anything like that. It will be with no HDRI, no proper lighting or anything, I'll just show you materials. At the moment, these materials, if I come over here to the and side, they don't actually have materials on, Blender always puts it as w. Finally, the last one is our render it. This is going to be our render it in real time. As you can see at the moment, it's basically dark because we have no lighting or anything like that. We're not going to worry about this at the moment. As I say, we'll worry about that a little bit later on. For now, though, I want to put this back on object mode, the one was working on. Then what I want to do is I want to come to my little options here, so you've got this little down arrow here. What you want to do is you want to come down. And you want to put it on cavity. You'll notice straight away what that does. It actually defines the lines much, much better, makes it look a ton ton better, and now you can really see what you're actually doing. This really helps, by the way. If I pull this down onto my table, it really helps in deciding how thick you want everything to be. You will see as well that we do have a slight problem here in that. These actual edges are wrong, so they're not actually in the right places. If I put a bolt in there, it's not actually going to fit. We can either put our bolts in each of these. I think that's going to be the best way to go, or you can stretch it out depend on how you actually want it. You can stretch it out by pressing S and Y or something like that. Alright, so let's now bring in our bolts. Let's make sure though that this is right on the bottom there. Can see slotting in, go to hold my shift button again, slotting in something like that. And now let's bring in our bolts. So again, let's press Shift A, and we're going to bring in a new primitive. And this time, we want to actually bring in some bolts to hold this table together. So what I'm going to do is I'm going to press Shift A, and I'm going to bring in an actual UV sphere. Now, at the moment, when you bring this in, You'll notice if you open up this menu that we have 32 segments going around here, 16 segments going around here, that is a lot of polygons for just a bat. I really want to turn this down. What I'm going to do is I'm going to come to my segments are. I'm going to put this on 12, like so. Now you can see we've cut that down drastically, and let's put the rings on ten or something like that. All right. Something like that then looks probably a lot better to actually work with. Now I'm going to do is, I'm actually going to get rid of the bottom of this. The reason I'm going to do that is because I want to use this as an actual bolt and I want to use it in all of the things I'm building to make it easy for myself. I'm going to do is, I'm going to press tab. Come up to face select. I'm going to grab all the faces growing around it. I'm going to grab one face. I want to press Alt Shift click once. Click it again, shift click and you'll see now it grabs them going all the way around there. Then I'm going to press delete. Come down to where it says faces. Now you should end up with something like that. Come to the bottom part now, press L. Then what you're going to do is you're going to press delete and you're going to go and delete vertices the reason I'm deleting vertices after that is because then it makes sure that we end up with no empties and things like that. In other words, there might be a little points left over in your building things. They're called empties and basically, they're not actually any kind of meth To stop that happening, I just press delete vertices like so. All right. So now we've got this part. Let's press L, the first thing I want to do is squish this because at the moment the bolt looks like that, it's a little bit too rounded. I just want to press S and S, squish it down like press seven 12 of the top. I'm going to make it smaller. Basically, I want it to fit in between each of these. I press S, bring it down, bring it down, something like that, and now I'll just pull it down, pull it down into place. At the moment, I want to zoom in and see what I'm actually doing. But at the moment, you can see that when I zoom in, I'm not really moving around. It's a little bit hard. But if you press the dot boron on the actual number pad, you'll see that it zooms right in and that makes it really easy then to come in and make these bolts the right size. You can see it's a little bit big. Let's press the S ball make it a little bit smaller and let's pull it into place so it's in there like so. Let's press tab, There we go. There is our bolts. Now, let's press seven, what we're going to do is we're going to bring in a few more bolts because I want to bring in one here, one here. I don't need to use the mirror because they don't need to be perfectly aligned or anything like that. So I'm going to do is I'm going to press shift, bring it over to this one, shift, bring it over to this one, and let's grab this one. Shift, just to duplicate here on this one, and shift duplicate again on this one. All right so far so good. Now, let's join all of these together. I'm just looking here just to make sure that these are not popping off the edge too much. I want it there looking at that one as well, yeah they look fine. I'm going to grab all of these. Not the table. I'm going to grab the metal part, and then I'm going to do is I'm going to press Control J. Join it all together. Now you can see that we've got these parts on here. Now, what I want to do is I want to take a part of this, and I want to put it down here as well, and then I want to mirror them over the other side. So that's the plan for the next lesson. So what I'm going to do is I'm going to come up to file, save, and there we go. Now, as we move on through the course, everything will be sped up much, much more. This is just getting used to the basics and taking it really slow. But once we get a nice work flow going, it will be much quicker if you're a mid level modeler or something like that. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks. Bye bye. 8. Setting up our HDRI Lighting: Welcome back everyone to Blender an unreal engine becoming a dungeon prop artist. Now, the first thing we want to do is then is just set up a basic material. After what you've learned, we might as well set that up. Then what we'll do is we'll bring in our lighting and then finally, we'll actually look at applying that actual material to our actual table. All right. First of all, let's come over to the right hand side, and what we'll do is we'll bring in a new material. We're going to call it new. Then what I tend to do with this is I tend to call the material the same name as what my textures are based on. If I open up now our textures and I'll bring this over. We can see If I open this up, we've got three types of iron. These are important because with the metals, we've got three types of iron and we can swap between them and check them out and see what they actually look like. We've also got another iron, which is the weapon iron, which I don't think we should be using because it's pretty shiny that iron. We've got iron do, iron grainy and on old. What I tend to do is I'll come in, I'll grab this one and I'll copy the iron dog Control C. Then I'll do is I'll put this down and I'll double click it, control the iron dog. That's make sure as well, because when I bring these textures in, they're all going to be named iron dog and you make sure that everything goes together. All right. Now we're going to do is we actually want to put this material on something. What I'm going to do is instead of putting it straight on my table, I'm going to press shift A. I want to bring in a cube. I'm going to bring my cube over. I'm going to then come back to my table, minus this iron doc off because of the moment, this on doc is applied to this table, and it's certainly not going to look right. I'm going to actually make this cube a little bit smaller like so. Then I'm going to come back to my table, minus it off. Come back to my cube. Click the little down arrow because we don't need to create a new material because we've already got it, and you'll see you've got one called on D. All right. Now we can actually go in and see what this actually looks like. I'm going to come over now to my shadings panel. This basically is, as you've seen in the introduction to materials. This is basically how we actually going to bring in all of our textures and things like that. Let's set this as well onto our material. Then what will happen is every time now it comes to my shading panel, it'll be exactly the same setup as when I first left it, which is really, really handy. All right. So now I need to actually come to edit, go down to preferences, and I need to bring in my node wrangler, like I showed you how to do in that short tutorial. So I'm going to come in, node wrangler, click it on, refresh, and close it down. Okay, so let's press dot to Zoom to my cube. And what I'm going to do is I'm going to click on my principle. I want to press control shift and t. Now I want to do is I want to bring in all of those textures for iron dog. You can see again because we've called it the right name as well, that's going to make it much much easier. I'm going to go to where it says, blend to build, click the pero then what I want to do is I want to come down to where it says textures, double click it, and now you can see, if I open this up, we've got all of these down here. Now, the thing is at the moment I can see these are really, really big and that's probably not so helpful. If I put it on here, now I can actually see them much much back. This is the one we want on dog. We can see we've got all of these materials, including a opacity as well. What I want to do is I want to calm and drag them all in. I'm going to grab the top one, shift select the bone one, click my principal and bring them all in. You can see this is what we end up with, already looking pretty nice. Now at the moment, The ambient occlusion is not actually set up. So it's not set up. So I've got to make sure that when I come to put them on my table, that it will be set up and we will be able to see how it works properly. I don't want to do that yet. What I want to do, first of all, is set up all of these materials except the ambient occlusion. Now, you will notice when we bring that in, the best thing is if you're using the newer version of blender is that it actually brings in the opacity, which is this one here and it's put it actually in the alpha. That's really good if you are using opacity. The next thing is, you can see we've got little bumps and things like that on there. If we want to make these little bumps and things like that bigger, all we need to do is come down and increase the strength of our actual normal. Not going to do that at the moment. I'm just showing you that's how it would work. Now the other things at the moment, we're not actually going to touch, we're going to leave them as they are, and that's pretty much set up. Now, let's come in and bring in another material. What I'm going to do is, I'm going to press 50 on my cue. I'm going to press Shift space bar again because my move tool is not there. Again, if you've not shift space bar is not working, just press T, bring in your move tool and then move it over. Then what I'm going to do is I'm going to minus this off. I'm going to minus this off. I'm going to open up my textures again, textures are here. We've got one that says grainy, so I'm going to click it, copy this with control S. Okay. Put that down. Now, double click it Control D. Now let's bring in the grainy. Control shift and T. Let's go up one and we're looking for iron grainy, which is this one here. Again, I'm going to grab them all going down, click the principle, there we go. We can see this is a completely different type of metal. It's got a lot of different shining it and things like that. All right. Again, we're going to leave that as it is, and I'm going to shift, bring it over. I'm going to move them a little bit closer together. So. Then what we're going to do is bring in our next materials. So I'm going to come in with this one, minus it off. By the way, you can't minus materials off for your ended mode so make sure you an object mode, minus it off, click new. And then what I'm going to do is again, same sort of thing. I'm going to open up my textures, and we're going to bring in on old, click it, copy this part. Control C. Let's come in. Double click it. Control V, er, come down to my principal, control ship T, and then we're going to go to the iron old. Iron old is here, double click it. Shift select them all, bring them in, and there we go. So now you can see we've got three different types of metal. It's really good this because you can see actually what material do I actually want on my actual table, for instance. What I tend to do is I will put these out somewhere. So let's say in the front somewhere like that, and then what I'll do is I'll actually put them in their own collection. I'm going to make a new collection right click and I'm just going to call it materials you can see my new collection is here. Let's call it materials. So then what we'll do is we'll grab all three of these and join them in. Now, anytime we alter material, it is going to alter these anyway. Now, the other thing is you might as well name your materials because at the moment, it might be hard for you to actually go down them. All you need to do is just double click this one, for instance, double click this, press Control V, and just rename them. Makes it a little bit easier to actually get along with this. Control V, and finally this one, double click it, control C and double click this one control V and there we So now we've done that. Let's make sure these materials are settled properly. To do that, we really need to bring some lighting into here so we can actually see what we're doing. The first thing I'm going to do is I'm going to bring in a plane, just a simple plane. So I'm going to grab all three of these. I want to press shift cursor selected. That's going to put in the center of those, and then there's just bring in a plane. So I bring in a plane so I'm going to pull it out and I'm going to make sure that these materials are set on top of it. Like so. The plane actually is gone into my materials, which is really good because that's where I want it, and I'm just going to call it material plane like so. I'm also going to give this a material. I might as well use one of the materials already had so you can see of guard material and default. I'll just use this and I'll call it material plane, so control C. Control V. What I'm going to do now is with this, I'm just going to make it a little bit darker. I'm just going to come to where the base color is and I'm just going to turn it down a little bit darker so you can see my guy is also going a little bit dark because that is the same material on it. Not going to do anything else with this material. All I want to do is use it to actually get my ambient occlusion. All right. But before we do ambient occlusion, we need to actually bring in some light in so we can actually see what we're doing. What we're going to do is we're going to bring in our lighting. Now the way you want to do that is in the file that actually came with the download pack. So you can see here, if I go back, you'll see you've got one called HDR lighting. Basically, this is an actual blend file. Now, the best thing about this blend file is you can use it in all of your bills from now on. You can bring it in and then you can reset your blender to the default. What do I mean by that. Once you brought it in, you go to file and you're going to default and you're going to save start file. So When you first load up blender, bring in this HDRI, save it as the default, and then you're going to have your lighting already set for you, and that's the really good thing. But let's now bring it in. I'm going to do is I'm going to go to file. Well, actually, I'll show you first of all. If we bring in lighting, you'll see it looks like this. If we come over to our lighting in the world, you'll see it looks like this. Not really anything. You can turn you can change the color, you can change the strength. There's not a lot to work with there. Let's bring in our own lighting, which is real world lighting. Let's come to file. We're going to go to append. Then what we're going to do is we're going to go up and we're going to find that HDRI set up, double click it. Double click your blend file, and then what you're going to do, you're going to go down to where it says world. This one here. Double click it and we'll see we have a HDRI set up. Double click that. Now, nothing happens. But if you come over to the right hand side, click the little down arrow, put it on HDRI set up. And there we go. Now we have real world lighting. Now, of course, we do want to actually do a few things with this because of the moment this actual lighting. It might not be bright enough. You might not want the clouds at the back. You might want the sunshine, for instance, around the other way and things like that. We do need to go in on the next lesson and alter some of the options. Just before we do that, though, to actually see the options, you come down to where it says object here in shading panel, and just go down to where it says world, and we'll just have that set up ready for us for the next lesson. Come up to file, save it out. I hope you enjoyed that, and I'll see on the next one. Thanks, Live one. Bye bye. A. 9. Direct & Infinite Light Sources: Well, I'm like everyone to Blender and Unreal Engine becoming a dungeon pro artist. Now this is where we left off. Now, I think what we need to discuss now is as we put it onto our renderer, we need to discuss basically two types of renderer in Blender. There's actually more, but there's only two types that you're actually probably going to deal with. The first one is EV renderer, and what this basically is is like real time rendering. It's basically what you would have in games engine Unrengin or something or unity or something like that. All right. The next thing that I want to do is, I want to actually show you the other one, which is cycles. If we click on cycles, you will see that this is not real time, but the lighting is a ton bear. Now, this is important that you can see between them because then you can decide which one you want to use when you're actually viewing your view port in the render mode. And also, when we come to the end of this, we will be rendering out all of our props in both EV and cycles. Let's look at cycles now. The EV render, by the way, there's not a lot that you need to do with it. The one thing you can do with EV renderer, for instance, if I come over here and I click on ambient occlusion, you will see that you get some really, really nice shadows already actually with it. Now, with the cycles render engine, it doesn't actually come with shadows or ambient occlusion, we need to actually sort that out ourselves. Although in cycles, the actual lighting and things like that is really nice. For instance, you can see now because I've put this floor here, if I move this floor away, you can see those shadows disappear, and as I bring them, we get more shadows because these are basically contact shadows. It's really, really good for things like contact shadows. We'll go in depth and a little more into the options on EV render engine, a little bit later on in the course. Now, let's put this onto cycles once more. And what we'll do now is we'll actually sort out a few of these options. The first thing I want to do is go to edit, go to preferences. And what I want to do is I want to go down to where it says system. You will see at the moment, because I basically set up the default blender, you can see at the moment that I've got all of these options to put on. Now, I'm going to click this one on. This is basically the new cycles, so it is rendering using cycles X. You can have iron as well, but I'm going to use this new one, which is cycles. I'm going to take on both of my CPU and my GPU, and then I'm basically going to leave everything else as it is apart from this memory and limits. This is my undo steps. I tend to set this to 150 or something like that. The reason I do it is Because when I'm building the course actually, there are times when I make a mistake and I have to go a long way back to actually fix it, so I'll tend to set this fairly high. Remember, every time the higher you set this, the larger the file will be when you save it out and the more cache data Blender will use as it's actually working because it has to remember more undo steps. Just take that in mind. All right. Now we've set that up. We need to close this down. And then what we need to do is we need to come over and we need to put this onto my GPU. The reason is that normally your GPU is much, much faster than your CPU. Then what I want to do is I also want to put this on experimental. The reason I'm putting out on experimental is because Blender is using now cycles x when we render this out. So it's important to actually put it on there. The next thing I want to do is I want to put my de noise on. The reason is at the moment, as you can see, you can see all these fireflies and noise and things like that. I want to smooth all that out. I'm just going to put de noise in on and now you can see it's much smoother. It takes a little bit of time to load off. But for me, working with cycles rather than V is much much better. Now, you will notice that all of those contact shadows have disappeared, and that is the reason why we need to set up all of our materials with our ambient occlusion and things like that. All right. Well, first of all, let's sort out our lighting at the moment, is the lighting any good. What I'm going to do is I'm going to drag this plane out. Some jaw is going to process, drag it out. Then one want to do is I'm going to put it onto the ground plane so you can see ground plane down here. Then one we to do is I'm going to grab three of my materials, also put them on the ground plane just to make sure everything's in the right space. Now, you will notice that my table doesn't really have any shadows or anything like that at the moment. That is because basically the HDR we've brought in, it's not very high on the actual strength. You can see our strength, no 0.68. Let's put it on something like one. Turn that up and now you can see, we've got a few soft shadows around here. Still not what I actually want. What I'm going to do is I'm actually going to bring in a su, it's called a directional light or a sun and it's also called an infinite light source. The reason it's an infinite light source because it's not like a candle where it only gives so much light out or a spot light or something like that. They only go so far and then the actual light actually weakens. With an infinite light source, which is like our real sun, it actually goes on forever. Let's press shift A, come down, bring in a su, and there we go. Now we can see we've got so Shadows. Now the problem here is that, of course, that you can see that as I bring this up as it is an infinititsce, it won't get weaker on the shadows. It will just actually keep the actual same. I'm going to do is I'm going to rotate it, so x rotate a little bit, and then red rotate a little bit. Now we've actually got some nice shadows on there. We've got a really nice set up now. It's really nice and bright and now you can actually mess around turning down the HDRI, which will lower the outside of it. It's up to you how actual bright you want it. I'm going to put this on one again, and I think that's actually probably going to be bright enough for y. Now, if you want to turn your sunlight down, come over to the right side with this little babies, and now you can turn the sunlight up or down or anything like that. I think for now one should be okay and you can also mess around with the color, giving it some blue or yellow ab ambience depending on what sort of scene you're creating. I would leave this on just white at the moment. The reason I'm doing that is because I want to see what these props look like before doing any kind of compositing with them or any kind of after effects. All right. Now the next thing we need to discuss is this actual HDRI. Now, you can see, we do have a rotation on our HDRI, so you can see if I come to my son, I can actually rotate the HDRI round, matching it up more or less in line with I find it where my son gone. There it is. W I want basically to be round here. I want my son to be round here and the reason is because that is where my actual lighting is. I'm going to bring it down a little bit. Okay. There we go. That now is shown in the same place as the sun, meaning that our HDR light in it is matching where our sunlight is. Now we need to move on to these options here. We've got you can see here HDRI, color, and gradient. Now, this setup comes with the HDRI, which is this background, and you can change that through importing an HDRI into here. Just click this x and then what you can do is you can actually bring in a new HDRI not going to do that. Then what we need to do is now we can change this over to a color, let's change it over to a color. And you'll see now that is changed to this background and here is where you can change the color to whatever you want. I tend to put it on a gradient instead, I'm going to put a gradient in there, and then I'm going to actually have it like that. I'm happy with how that looks. You might want yours brown or something like that, but I'm happy with how this gradient is. Also, this gradient stays in place when you're actually taking ends. It's a really, really great cell for taking images and things like that as well. That is enough of the HDRI set up. Now, what I'm going to do is I'm going to come up now back to Sorry, over here to where the weld is. I'm going to click it down. I'm going to go on to object. And the reason I've done that is I want to set up now the actual ambient occlusion. You can see that we actually have ambient occlusion here. The one thing we don't have is it plugged into anything. So we need to actually set that up and plug it into the right places. Then we'll have our ground shadows in cycles render engine. Now, the other thing is, if you come up now and basically you brought this HDRI in to start with, you need to go in and automatically pack resources. And the reason you're going to do that is because when you open up this blend file, if you've moved textures anywhere or the HDRI or anything like that, you're going to lose everything and you need to refine them. So it's fair to pack everything and then come to file and save and you'll see save dungeon props, and everything has now been packed. This will increase the size of the blend file significantly. We're talking from 10 megabytes up to gigabytes, sometimes depending on much you've got in there. But it does mean that if you want to send this blend file anywhere else, everything is packed in there, all of the textures, all of the HDRI, all of the modifies, just literally everything is in there. Someone can just get this file, open it up. And everything will be in there. Already, you don't need to transfer then all the textures and things like that across. That's really handy to know. All right, everyone. I hope you learned a lot in that one in this one. On the next one, what we'll do then is, we'll look at our ambient occlusion set up and we'll get that set up ready for all of our materials. All right on, I'll see in the next one. Thanks a lot. Bye bye. 10. Setting up our First Materials: We like everyone to Blender and unreal engine becoming a dungeon props. Now, let's discuss, as I said, ambient occlusion now. Global elimination cycles will do the amin occlusion for you. In other words, you can see here we've got some darkness, the lower we turn down our light and the more darkness will be for instance, but sometimes you actually want some ambient occlusion, some contact shadows, things like that. So how do we actually s that out? The other thing is as well with materials. Obviously, we can't give ambient occlusion Two, let's say this material over here. We can only do it actually within that material. Let's first of all, set up the ambient occlusion for the material. That's quite easy to do. All we do is press shift A to bring in a new node. The one we're looking for is a color color ram. Then the next one, we need to join these both together. We have our base color, we have an ambient occlusion. Somehow, we have to join them together. All I'm going to do is press shift a search, I'm going to look for a mix. R G B and bring that in. I'm going to then change rate saves mix, and I'm going to put that onto overlay. Basically, I'm going to lay the color over the top of the ambient occlusion. Let's go to overlay. Now I'm going to do is I'm going to plug my color from the ambient occlusion into my color, and then I'm going to grab I'm just hoping I've got the right one. Yes, I've got the right one. Then I'm going to plug the color from the ambient occlusion into the bottom of this one because I want to actually overlay the base color over the top of the ambient occlusion. Now I'm going to plug my color. Into my color over here, and then finally, I'm going to plug it into my base color over here, like so. All right, nothing's happened. But now, you'll see that all of the dark spots on here based around the normal, once I turn this up, you can see now I can actually get some ambi and occlusion into my actual material. Now, it's important that you turn it up as high as you want it. I don't want mine, particularly that higher or anything like that. I just want a few spots like so. Now, we've discussed the amin occlusion on the metal. We need to kind of put this on all of the metal. So I'm going to do is I'm going to grab both of these, press Control C, and then I'm going to come to this one. I'm going to press control V. Come to the next one, press Control V, and now let's go and plug them in exactly the same way. Okay? Now, what I'm going to do is, I'm just going to grab all those drag in, pull them out, like so, and now got a little bit more to wear with. Plug this one in. Press the doll board to zoom in. Turn by ambient occlusion, if I need to, you can see if I can get a lot more detail on there. Not going to turn up air that high. Something like that should be absolutely fine. All right. Now, let's come to our last one again, going to drag them. So plug this in. Like so, and then plug this one in like so, and then finally into base color, and then step. Turn it a little tiny bit, something like that. All right. So now we've discussed that. Now, you will notice that on the floor, we don't have any contact shadows. And the reason is because we don't actually have any ambient occlusion. What we need to do need to come to our for what we're going to do is we're going to press shift a search and bring in a ambient occlusion. Now we're going to do is going to bring in a color ramp color like so, and then we're also going to bring in a mix RGB again. Shift search mix RGB. Drop that in there. Now I'm just going to plug these in so mayo goes in my f of my color and my color goes in the bottom of this mix RGB. Finally, let's plug it into the base color. There you go. You can see not a lot happens. That's not what we want. But now you can see, as I turn this up, we're actually getting those contact shadows that we want to. Now, the color of this is obviously based around here and I don't really want that. I'm going to turn it down just a little bit darker. Maybe something like that, and now you can see that we're actually getting some proper contact shadows. Now, they don't need to be that high or anything like that because it is based on some line things. You just want a little bit of contact shadow on the bottom of that. You can also mess around with it and make them a little bit harder edged as you can see, bring it up a little bit, and now they're low. A little bit more realistic than what they look before. All right. That looks really nice. We're happy with that. Now we've got actually I'm inclusion on our material. We have it on our floor, and now we can actually carry on. What I'm going to do is I'm going to as well make sure that my plane, some material plane is in here, and I need another collection for my lighting. New collection, let's come down and we'll call this lighting. And camera for when we actually come and bring in our camera. Some. Let's drag into there, like so, and let's just put all these up now so we can see exactly what we're doing. All right. Now, we should come back to our table and we can finally start getting in some materials. I think what we should do while we're here is actually bring in our wood as well. That will make it much easier for us as we go along. Let's come to another cube. We'll make another cube, Shet's make another so. Let's come to our materials. Let's minus this off. And then what we're going to do is again, we'll open up our textures. The one we're looking for now is wood. We've got stylized wood planks, wood. Let's just have a look which one that one is. Let's have a look. I'm going to double click this one. This is the wood that we're actually going to be using and the other wood have a look. I think the other wood is for the bookcases, It's have a look. Let's open that. Yes, it is. It's for the bookcases. We're going to come in and we're going to make this dungeon wood stylized plank wood. I'm going to click on it and copy this. Control C, put it back down. New, double click it. Control V, like so. I'm going to go in as well, and I'm going to grab both of these. Grabbing both of these. Control C, go back to it. Control V. There we go there ready to rock and roll. Now let's press Control T and bring in that ward. If I click, I'm looking for wood stylized plant, which is down here. This one here, grab them all, like so. Then what I'm going to do is bring them in. Now, you can see as well that we've got Two normals on here. We don't actually want that. I'm going to delete that one out the way. And then what we're going to do now is just grab all five of these, click the principle, and there we go. That is our actual water. So I'm just looking to make sure that looks fine. I'm also going to check that normal just to make sure that I did get rid of the right one. Let's bring it up. Yes, I did. So that's absolutely fine. We don't actually want that lumpy or anything. Maybe a little bit more lumpy than this. Let's try 1.5 maybe. Yeah. Maybe 1.5 is probably going to look a little bit better than what the other one did. Now finally, we can go and do our ambient occlusion, exactly the same way as what we've been doing. Let's plug this one in here. Let's plug in our base color into the top of here and finally then let's plug this into here, like so, and let's see if we have some ambient occlusion, in our wood, which we have over here as you can see, by ten that down zero. So just a little bit, something like that. All right. I'm happy with that. I'm happy with the bomb shadow, so there we go. Now I've got all my materials in now. I can actually work from these to actually put them then on my actual table. Let's now go back to UV editing. We're going to go to our UV editing, and the reason we're going to do that is because now we need to start actually wrapping these. Now, we've learned how to mark seams. I'm just going to come over to the left on sign just zoom this out. This is basically where we unwrap things, where we actually put the materials on and things like that. I also want to set this onto material mode. I don't actually want to set this onto texture mode or anything like that. The reason is that you can see perfectly well, how the materials look. In fact, you can actually see it better, how the materials look if you're not in the rendered mode. Let's come to all of our table. The first thing I'm going to do if I come over to my material and I click the little down arrow and we're looking for stylized planks, you'll see that they all come in looking like this, a bit of a mess. Now, let's see if we can actually unwrap the easy way. The first one I'm going to unwrap is all of these. I'm going to come in, press the tap on, I'm going to grab all of these here. All of these and any of the other metal parts, these Then what I want to do is I actually want to open up my unwrap options. If I press you now, you will see that we have all of these options on here. Now, a simple wrap on these, as you can see, if I unwrap them, they look a mess. The reason they look a mess is because of the fact that we've not mark any seams on these whatsoever. What we're going to do instead, first of all, though, let's bring in the other material as well, because at the moment, throw wood and that's not looking too good. So I'm going to do is I'm going to press the plus one while I've got my table clicked, I'm going to go down, and I'm going to look for the one that is, let's just have a quick look. This do one here, which is on doc. Let's come in, bring in iron dock Now I'm going to actually apply it to these parts. I'm going to quantum and press the tab, click a sign, and now you'll see it looks better already. Because it's met, you can get away with a lot more. But we still don't want to look in this mess, really. Let's sort those out. Instead of u and unwrap, let's go down and smart UV project. It means blenders basically going to try and unwrap these correctly. There you go. You can see now that they've unwrapped really, really nicely. And if you zoom up to it, you can see they look perfect. All right. So now let's add in another metal. We can see here that we're probably going to be using this metal here. I'm going to go in. And I'm going to come this time. So I'm going to grab one of these. I'm going to press the dot born to zoom in, like, so And then what I'm going to do is I'm going to grab each one of these now. I'm going to grab this one, this one, this one, this one and this one. I'm grabbing them in edge select, just in case there's any seams on them. I know there's no seams on them, but it's just in case. I'm going to grab each of these, like so, and then I'm going to come round and grab each of these. And it's just basically all the bolts that want on there, I want to different material on. Let's grab each of these. Now I'm going to do is I'm going to click plus. Again, I forgot where it was called. It was this one here, so on old. Let's come back down arrow. Old tab and let's assign it. Click sign. Now we've grabbed them all. Click, Smart UV project. Okay, and there we go. There are all our bowls. Let's have a look now what they look like and you can see, they look really, really nice as well. Now, we've done all of this table so far with Smart UV project. But there are times when you can't actually get away with that when things like wood grain and things like that. We need to make sure that when we unwrap this wood that it actually looks good. All right, but we'll discuss that on the next lesson. All right, everyone. I hope you enjoyed that. I'll see on the next one. Thanks. Bye bye. 11. How to Customise Imported Texture Maps: Welcome back to everyone to Blender and Unreal Engine, becoming a dungeon artist, and this is where we left off. Now, the wood is all that's left on this table. Let's see if we can get away with it. So what I'm going to do is I'm going to come in edge legged I'm going to grab each of these. I'm going to try and press Smart UV project click and now I want to do is I can see they're all going the wrong way. I'm going to do is I'm going to grab them all with eight. Come over to my UV map, which is over here, press 90, spin them around, and there you go. Now they're all facing the correct way. Now, I'm just looking to make sure I'm actually happy with them. The problems you might have are the edges. Very important when you do anything like this that you're looking at where the wood grain is going. For instance, you can see all of my edges are going the correct way. Now, if yours are going the wrong way, what you can do is you can press tab, you can grab one of them or all of them, and you can see they're all here, and then you can spin them round. So 90 spin them round and there you go. You can see now they're going the opposite way. Now, I don't want them going that way because they don't look right going that way, but that is what we're going to do just in case we need to turn around. Now, the other thing I'm looking at on these tables is I'm making sure that I'm happy with the scale of the UV. If I zoom in here, we can see that this is the scale of them. If I press tab and I go back in and just grab all of these again, And then what I can do is now because this is a seamless texture, I can actually bring them in. If I bring them in now, you'll see that they look like that instead. In fact, they look actually better like that than being right out here. We can also bring them all the way out to make them really, really small like that. Although you will sometimes get some repeating along the pattern, depending on I bring it all the way out, how far you bring it out as you can see. Now, I don't want it like that. I want it right in the center as we add it. That to me looks much, much better. All right. So now, What I tend to do when I've done that bare wood, I'll press the H bond and I'll come to the next part. I'll grab both of these. I'll press. Smart UV project, click, and there we go. A 90, spin them around, press the S borne, just to scale them in, press G, just to move them and then place them in the middle. I like them in the middle. Because it's a seamless texture you can get away with ping them in the middle. I just like seeing them in there, and now we can have a look and see what that looks like. All right. That's looking good so far. Now, what I want to do is I want to hide those out the way and just work my way around. Now, there is sometimes a point when you will have to actually mark some seams. I will show you that as well. We'll do it on both of these ones, so you actually know both ways of doing it. I'm going to come in with face let. I'm going to grab this one and grab this face. I'm going to grab this face and this face, and then going to press control, come down, mark seams. Now what I want to do is I want to mark a seam where I want this ten. For instance, it doesn't want to be an infinite loop. If you try unwrapping this now, as you'll see, so I'll come in, wrap, not Smart UV unwrap because this is the control one. This is me controlling how the round works. If I click that now, you will see, we end up with these problems here. The reason we end up with these problems here is because blender doesn't know where this actually ends. In other words, it's just going round and round and round because there is no seam. What I'm going to do instead, I'm going to grab it here. I'm going to come round to the other one and grab it here, so I'm going to write clip and mark a seam. I'm going to also then come in to my other one and do the same thing. Now the reason I'm marking a seam all the way round the back of here is that people The web is looking at this, cannot see under there, and that's why I'm hiding that scene there. Right click max now let's grab both of these. L and L and now press, and wrap, and you should end up if I spin these around now, A 90, make them a little bit smaller with some perfect seams and as you can see. That is there in case you ever have problems with your actual seams on wrap properly. That is what we'll be doing. Now, the other thing is, you can see here that this one is going the wrong way. This one is going the right way, This one's going the wrong way, and this one is also going the wrong way. I'm just going to spin those round 90, spin them round, and now I'm much happier with how they're actually going. You can see mine are all going sideways on this wood and I like that. All right. Now if I come in, I can actually come in now. I need to grab them with edge slack because remember we mark some seams, so I'm going to press L, L, hide them out the way. Now I'm going to come to this part here, L and L. I'm going to press. Come down Smite UV project, click, and now spin them round. A 90, spin them round, press the S b, bring them in. And there we go. Now, finally, let's come in to well, sorry, go back, hide these out of the way. H to hide L L, L and then I'm going to press, smart UV project, click Okay, and this is where we might end up with a few problems. So you can see here that because it's not It's a weird shape in that. Let's actually overlook it. I pressed Smart UV project. Yes, I did. It's not actually on wrapped correctly. Let's leave those for now. We'll come back to those in just 1 minute. Let's do the bottoms first because I'm sure they will work okay. I'm going to grab them with L and L. Smart UV project, click. A, spin it around 90. S, bring it in. Check whether the fronts of them are going the right way. Those two are those are as well, and they're absolutely fine. The only ones that we've got issues with is these here. All right. Let's come and sort these out. So how we're going to sort them out is, we'll grab this, we'll grab this, we'll grab this, and we'll grab this one. We're also going to come underneath as well. I'm just going to try and com underneath. Now there, like so, and I'll try and grab this one, like so. Now I'm going to do the same thing on these ones. Again, this is because Blender doesn't actually know how to unwrap these, we've got to go in and do this manually. This is why it's always a good idea if you learn how to do both. I've grab these now, I'm going to press Control mark seams now what I'm going to do is I'm going to try this again. I'm going to press A ops, not all those. I'm not going to press A. I'm going to go in and grab them separately, and then I'm going to press, Smart UV project and click. Now, we gave Blender a helping hand there. But it's still not enough, so we still need to do more. What I'm going to do is I'm going to come Shift click on these edges here. Shift click and then go around. I'm just going to add in a few more seams just to make it a little bit easier for Blender to unwrap these. By the end of it, we might actually have to just manually unwrap them and that might actually work out better. Right click M. Now, let's grab them all again, L L L and L U. I'm UV project, click, and now let's check those out. Are they going the right way or wrong way? You can see that we still have some problems here that these seem to be split and unwrapped differently to each other. So that's not what we want. Let's try U and wrap. Now you can see if I grab them all are 90, spin them round, now they're wrapped absolutely perfectly. You can see how we actually managed to fix those by adding in seams, and that is basically what I'm talking about when we're trying to get the actual materials on these correctly. Now the thing is, I need to make these much smaller, as you can see, so because they are very tiny. Then what I need to do now is change these. Can you see these edges on here? They are clearly going the wrong way. I'm going to change those rounds. What I'm going to do is, I'm going to come in grab each of these edges where they're going the wrong way. I'm going to spin in the round so and then 90 spin the round, and now you can see the log A to that. Now just go around, make sure that you grain is going in the correct way, as you can see the old miners. Now finally, we finish our actual table. So all that work, I know to actually finish a table. But the thing is now now you've learned all that, we can actually start speeding up the process and bringing in new workflows and things like that. But you had to go through this to actually learn to get to this point. All right. So now we want to do is we want to actually go back to our shading panel. And the reason I want to go back to our shading panel is because I just want to make sure that my wood looks the way I want it to. In other words, I'm happy without darkness, what is I'm happy with how it looks. Now, if you want your wood to be a little bit darker, for instance, just going to move these over here. The easiest way you can do it is with an RGB curves. One is going to press shift a and it's like photo shop, RGB you'll have one that's called RGB curves. Just drop that in there. Then what you can do is you can come in and turn it darker or lighter, for instance, however you want it. I think for me, that kind of darkness is what I'm really looking for. That now is looking pretty medieval dungeon type, and I'm happy with how that looks. All right, so that's looking really, really nice. And now, what we'll do then on the next one is we can make a start on our stools, on our benches, and on our chair, and we can now work through rapid succession. Now, the thing is, as well, before you go, all you want to do is you want to make sure that you hide in all of your materials. So hide those other the way. And the ground plane as well, you might as well hide it. And again, make sure we come to file and say. Alright, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks, L. Bye bye. 12. Working with the Asset Manager: Okay. Welcome back, everyone to Blender and Unreal Engine, becoming a dungeon artist. Now, the one thing we need to do before actually create the stolen chairs is, we just need to make sure that this is named correctly, which it is, so we already did that. And now what we want to do is we want to actually discuss our blender asset manager. For those of you who are using, I think Blender onwards might even be 2.9. I'm not sure, but Blender Asset Manager is amazing. It's just an amazing thing. I'm going to show you now how to actually use it. So I'm going to play a short video now of vow to actually use it and what you can get out of it, and I'll see you on the other side. Okay. Welcome everyone to the short introduction on the asset manager within Blender. Now, before we get started, let's take a quick lo at what we're actually trying to achieve here. So if you see on the top left hand side here, I have actually one called assets, which we're actually going to create. If we actually click on that, you'll see it opens up a new window, and within that window, we have assets on the left hand side grouped together. Not only do we have assets, we also have actually a material library as well. So we're going to learn actually how to actually put these into this group and now Blender can actually find them. But before we do that, let me just show you how they actually work. So within my stylized assets, I have all of these assets which are from multiple courses, and I can simply drag and drop my asset actually into place. Now, the asset doesn't just come in with the actual model. It also comes in, if I click on my materials tab with the actual materials, so I can bring any asset in, and they should come in nice and flat view into any scene that you want to create. Now, with the actual materials, if I actually just bring in a cube, so I'm just going to bring in a cube. I'm going to move it over to the left hand side, and I'm going to come over to my stylized materials, and then I'm simply going to drag and drop onto matual cube, and there you go. You can see this one is glass. I've only got on materials at the moment, so you won't actually see through it or anything like that, but you can see that we can just drag and drop materials onto our actual cube and things like that. You can see that this one is water, and you can see how easy it is just to drag and drop them off. Now, some of them depending on how complex the are going to take a little bit longer actually to place on your cube. But apart from that, they work really, really well. Now enough for all that, let's go back now to a brand new blender fo and I'll show you exactly how we're going to set this up. So where we are in our blender actual default view. And what I'm going to do is and first of all, going to come up to the right hand side, I'm going to come across, and you'll notice if I come across the general, we have one that says asset. Now, some of you might not actually have asset. And if you haven't got asset, just click on something like moddling or click on modeling, and you'll notice now that we've got another one called modeling.o1. And the reason is, of course, because we already have one called modeling. Now, if I come and left click, so double left click on here, let's call this asset. Like so. And then what I'm going to do is I'm going to right click and I'm going to preorder this to the actual front. So we now have asset layout and modeling. Now, at the moment, this is just a copy of my modeling, and I don't really want that. So what I want to do is I want to come down to the left hand side. And as I come to this corner, you'll see this little kind of cursor appear. If I left click and drag from the corner, left click and drag up, you'll now have actual two windows. Now what you want to do is you want to come over to where this actual icon. See it. Left click it, and over on the right hand side, you'll have one that says asset browser. There we go. Now we actually have our asset browser and now you can click on this anytime that you want. Now, it's important for this to actually work. That first, I'm going to press tab just to get out of my edit view. If I come over to file and I come down, and what I want to do is I want to come to defaults and I don't want to save it as a start up file. But you don't probably want it here, like looking here in the assets when you first open up blender. So if you don't want that, just come to modeling, and then what you're going to do is you're going to go to file, default, save start up file. And now, every time you load a blender, you're also going to have this asset manager in place. Now, how do we make groups. The way we make new groups as you can see here we can change this from all You can see it's on current file, and you can see there's also an unassigned button. Now, it's important that we keep that unassigned button there because many times I've created assets and I can't find them, and of course, they'll be in the unassigned. Now, let's create a new group. So if we create one called material, materials, like so, and then we know we can place all of our materials in this one. So it's just a little plus to create a subgroup under all. If you want to subgroups under materials, you just click the plus on the actual materials, and then it'll create a subgroup under this actual materials as you can see there. All right, you can see there's also a little star there. That just means that we need to save this blend file out. So just save your blend file out. If you actually want to save out these materials, once you've actually got them in place. Now, how does Blender know where to actually look for these assets? Well, what you need to do is you need to come up to edit, go down to preferences. And then what you need to do is you can see hover where it says, Use a library. This is where Blender needs to actually know where to actually look. You can see mine at the moment, I've created a desktop icon, that's called blender assets, and that's where I'm actually time blender to actually go and look. Now, the thing is, any blend file that you create, just create a copy of it and actually put it into this new desktop blend file. It doesn't have to be a new desktop, but it needs to all be in the same file to actually work. Once you've actually done that, then we can close that down or save preferences, you can also do it that way, close it down. And now you'll see if I come down to use the library, you will have a problem here that we haven't actually got anything in there. So if we go to open preferences, and now we click on this, and I'm going to go to my desktop, and now I'm going to find my blender asset library, which is this one here, and you can see I've got all of these blend files in there. If I click Accept now, close that down, and now when I come and actually click on my catalog, you can see that I've got all of these actual materials and things in place. This is why it's really important that you actually make sure that you actually put in your blend piles into that directory. Now, the next thing we need to discuss is how to actually create our actual assets. So for instance, let's create a material. So if I come over to the right hand side, I'm just going to create a cube material. Like so. And then what we're going to do is I want to make a base color. So let's just change the base color to a red. Let's put it on material so we can see it. And there we go. We've got our cute material. Now I want to do is I want to right click. I want to come down and mark as asset. And you'll notice now that it's got these kind of books stacked together, and that basically means that this has been saved out now as an actual material. Now, of course, this blend file hasn't been saved out into my assets. So all I need to do now is go to file, save as, and then I'm going to go to my desktop and come to my Blender asset library, which is this one. And now I need to save this out as a blend file within here. Then what Blender will do is it will pick up that this is a blend file within that actual file. So this one here, and then you'll actually have access to this material. Now, the next thing you need to do is you need to actually let's save a cube, for instance, instead of an actual material, let's save out an object. So all you do is right click, come down to Markets asset. And again, you'll see now that we've got those three actual stat books. Now, because you've actually saved this blend file out into your asset library every single time now that we open blender. So if I close this down and reopen blender, you'll see you can go to your assets. And now we can see that we can go to our user Library open preferences. And let's find our actual blender asset library. Click Except. Close that down, and there we go, you can see, I've got all of my assets in. You can even see the ones that aren't actually assigned, where you can see, I've got all of these assets in place already. Now, just before we finish up, a couple of things to remember. First of all, when you go to edit and preferences, you will see that this is normally red. You just have to name it something so it's not actually red, and then you won't have any problems with it. Second thing is that once you've taken the time to actually create all of your assets and all of the materials and things like that, by right clicking them and mark as an asset. Just remember to save that file out in the actual place where you save them out. So for me, it's my blender asset library. If you don't save out a separate version of blender in there and you end up overwriting it, then you will lose all of those assets, of course. Basically, it's a blend file with all of your assets in there, that's all that should be in there. All right, everyone. So I hope you enjoyed that. A few troubleshooting problems at the end, as well. And as they say, on with the show. Welcome back to everyone. So I hope you enjoyed that introduction to the asset manager. And on the next lesson, we will actually be doing that ourselves so that you've got all of these assets and you bring them into any blend file and things like that, and you can create a massive blender library with all of these kind of dungeon props and things. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 13. How to Populate our Asset Manager: Okay. Welcome back everyone to Blender and engine becoming a dungeon artist, and this is where we left the art. Now, you've just go to weigh and you've learned all about the asset manager. Let's put that into practice. The first thing I'm going to do is I'm going to come up to modeling, and then going to hide all of this out the way. So what I'm going to do is I'm going to press tag, bring all my table back, and now I'm going to do is I want to hide out all these materials. I'm just going to click that on like so. All right. I'm happy with our erythm. What I want to do now is I need to create another option up here. So what I'm going to do is going to come to general a work spaces, and I'll just bring in the same one. So modeling And then what I'm going to do is I'm going to right click and I'm going to reorder to the front. You should end up with modeling over here, and now we're going to do is just rename this. I'm going to rename this asset manager like so. Again, what you should do is you should delete everything out of this now. Well, save it out first, of course, delete everything out of it and then save this as your start up file because then you're going to have your asset manager in there. But before you do that, make sure that we actually set it up. The first thing I'm going to do is I'm going to come down to the bottom left hand side, I'm going to have my little plus there as you can see, I'm going to pull this up there. Like so. Now, I just want to change this actual layout down here. What I want to do is change this. If you come over here, you'll see you've got one called asset browser. At the moment, as you can see, the current file only has one of these in it. But if I actually come in and click on my table and chairs, like so, and if I come over and right click, I can come down as mark as asset. There we go. The table actually appears in our asset manager. Now, there's more you can do with this because what you can do is you can pull other assets from all the blend files. All you need to do is come up to the edit preferences, and then you'll have one that's called file pass, and this here is where your blender asset libraries are. You can add more and more of these asset libraries. So you can see at the moment, my blender asset is here. What I can do is add this file to my blender asset libraries. As long as you're adding all of the blender assets to this file in here, so click plus, and we can add a blender file. I'm just going to show you so we've got it in the blend build. Add asset library, and now you can see, our blender build has been added to our asset library. When I open up another blend file, I just add in more pass and I'll be able to have access to all of these parts. The best thing is, of course, I can bring them in like so. If I'd leave out of the way and just put it onto our cycles render, as I bring this in, it just comes in exactly the same. Really, really handy. Also, you'll notice we have got our HDRI settop. Again, if I use this file, so if I put this in another blend file, set up the file to be this one. Again, make sure this is set up in the new blend file, and in sync then just drag in the HDRI as well. We're going to make a lot of use out of this because it's really, really handy, especially when we create in our own dungeons and things like that. As I showed you in the actual dungeon one. I think actually we've covered this enough now. I think you've got the idea of it. The one thing that you also want to make sure though before we move on is that if I come over here and my materials now, as you can see. If I bring in my materials back, I've got four materials here. Let's click on this material, right click, Marks asset. Right click. Market. Right click. Market, and finally, right click, Marks. Even better now, we've actually got materials in here as well. Now, we do actually want to split these up. We don't want them all to be the same. So what I'm going to do is I'm going to click the plus board I'm going to put this as materials. I'm going to click the plus board again, and I'm going to put this one as props. And then what I'm going to do is I'm going to come up to file, save it out and you'll notice those two stars disappear, come to all, and now I'm going to grab all of these with ship click Control clip, drag and drop into my materials. And now what I'll do is I'll come to the table, drag and drop into my props. And now you can see, they're all split up, which makes it really, really easy to find our materials because we can simply now drag and drop a material on to our hearts content, like so. And because this table is actually unwrapped as well, We can also drag and drop our material straight on there, like so. All right. That's really amazing, as you can see, now you can really get a feel for what actually you can create it. All right. Now let's come on and just hide all of these materials out of the way again. Now finally, we can actually move on to creating our next part, which is going to be our bench we might as well, create the bench next. Pretty similar to what we've done here. We can move now a lot faster tempo. All right. The first thing I'm going to do is I want the bench to be slightly, not quite as wide as this table. So I'm going to gram a table, press shift cursor selected shift let's bring in a plane like we did with this one. Let's press S and y, bring it in. Let's move it because I've lost my move tool for some reason. So shift spacebar bring in the move tool, not press T. Let's pull it down. And basically, anything that the guy sat on, you bring him across wants to be roundabout at the back of the knees like so, something like that. Then you want to make sure that it's the right width. So if I bring it in, You can see now if you sat on there, it would be the right size for adventure. All right. Now we've got a scale. What I want to do is I want to press one. What I want to do is I want to bring this either in, so it actually fits underneath or decide if you want it longer or whatever. I think I'm going to bring mine in a little bit, next, bring it in just a little bit like yeah, I think I'm happy with how that actually looks. All right. Let's move the guy out now. We've got a scaling process, and then we'll click on this plane. Press the tabbo press control. Let's bring in two actual planks. Left click, right click. Just make sure you're happy with the scale of them. I'm going to press, pull them out just a little bit more like so. And yeah, I think I'm actually happy with those. All right. Let's mark the seams like we did with the table, so we're going to press right click. Mark sin, Control, bring in some more edge loops, scroll the mouse were up four times. Left click, right click, and there we go. Now we can come in, grab each of these with L and L y to split them up. G, just to make sure they're moving away from them. Right click, drop them back in place. A to grab everything, and now you're just going to pull them together with individual origins. S. Why bring them in like so. All right, so you shouldn't end up with something like that. Now, if I press tab and what I'm going to do is, I'm going to again put on my proportional editing on random. I'm going to come in, grab this one, press shift space bar. And then what to do is we're going to move it very gently, like so. That should be enough just for those. By the way, try not to pull them up because although it might look better, you might end up with it pulled up a little bit too high. So if you do pull them up, just be very, very careful. That's all I'm saying. All right. Let's go in now turn proportional editing off, grab this one, let's pull it out a little bit. Let's rotate this, so, rotate it round. Let's pull this one out. Pull this one back like so, and now we've got them basically how we want them. All right. So now let's make the bench. So we're going to press tab again, A to grab everything. We're going to press, pull them down. Near enough, the same thickness as this one here because it is a bench after all. And then what we need to do now is put the bottoms in here. So I finished baser with those, they look pretty cool. So now what I need is an actual base under here. I'm going to press Shift S, cursor selected, just to put my cursor in there. Shift A, I'm going to bring in I think I'll bring in another cube actually. Bring it down to the size I want it. Bring it over, press S and X to make it a bit thinner. I'm just going to position it into place. I'm going to pull it down. Let's make sure I'm pulling it straight down. I'm going to press one. Or three to see where it is. I want to make sure that this is on the floor, position a little bit further down. Now I want to do is I want to pull out this bomb and pull in the top. First of all, let's pull it in with S and y. S and y pull it in. Now let's come to the underneath, pull out the bottom. Three again, S and y now let's bring these up and create a curve in here. I'm going to press control, one, two, three, four, Yeah. Let's try five edge loops, like so. Now we can come in under the bot. I can grab three of these, press three again, and then I can pull these up, and then I can grab the bottom, pull that up and make it something like that. I think actual pull them up a little bit higher, so I'm just going to grab all three, pull them up a little bit higher. Let's have a look at that. Yeah, that looks absolutely fine. I think I'm happy with how that looks. All right. Now let's get this over to the other side. So I'm going to do is I'm going to press Control A, all transforms, right click the origins three D cursor, add in a modifier and bring in a mirror, and there we go. Just make sure you're happy with the thickness because the mirrors on. If I come in now and grab this one, I can actually have the ability to make it thinner on both sides, as you can see. Just make sure if you need to. So x, bring it in a little bit, and just make sure you're happy with it. All right. Now let's apply that mirror. I'm just going to press control eight hovering over it, and now I'm going to bring in the other part. I'm going to press shift A, bring in a cube, I'm going to make the cube smaller, like so, and then I'm going to pull it down a little bit, and then I'm just going to pull it out. I'm going to press S and X, pull it out, and that then will be the main straw and I want to actually poking out both edges like so. Maybe that's a little bit too thick, so I'll press S, bring it down a little bit, S, pull it out. Just make sure it's popping out off both sides and that'll do. All right, let's go up to the file, save it out and I'll see on the next on every one. Thanks a lot. Bye bye. 14. The Problems with Auto Smooth: We everyone to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. All right. Now we've got this little piece in here. Let's make a top for it as well. A I'm going to do is, I'm actually going to duplicate this shift, bring it up. And then one I'm going to do is I'm going to bring it in. S and bring it in. Then finally, S and Z then bring it in a bit more S Now finally, just grab the top of it in face let and then press S and and there we go. So we made real short work of the actual bench. Now, we might as well do the rest of it, so I might as well join all this together because on this one, we haven't actually got any metal bits or anything like that. So we might as well just join it all together like Control J, and then we'll move on now to the next one. The next one will be the actual stool. So what we're going to do with this one though is, we're actually going to bring in a cylinder instead. Shift A. Let's bring in a cylinder. Now, the important thing when you bring in cylinders is, I'm going to show you two different methods. I'm going to show you a methods so you understand why is that we're doing it. You can see at the moment, the vertices going around here, the edges are 32 at the moment. Let's put that one over there. Then we'll bring in another one now, so should bring in another cylinder. This time, we'll put it on to eight pull that one over there. Then finally, we'll bring in another one. Shift A, bring in another cylinder and this time, we'll put it on something like 16, half the one of this one. Let's pull them over there. Now, let's join all these together. Press control A or transforms, click Origins, geometry. Now I'm going to show you why it's important that you bring in cylinders with just the right amount of faces on so that you can get the you're going for without going too much over on the polygon cam. The first thing I want to show you is if I press tab, we can see we've got 212. Triangles or polygons in this. But if I come in and add some edge loops to this one, so if I press control, left click, right click. We now have 532. You can see how that exponentially goes up once we start adding in edge loops and things like that or duplicating these cylinders based on how many faces we have going around it. Let's press control d now'm going to show you the reason why if I click and shades Move, come in now and bring in my autos move. You can see that both of these look exactly the same apart from this one. You can also see that on the top of here, we have some lumps and things like that. That's still in it, and on this one, it's actually clean and looks really nice. Now, this one here though, which was eight edges, you can see it hasn't been shaded and smooth. We have to turn this off really, really high to get it to actually shapem. Eight polygons is not really what you can use. The minimum you should be using is 12 sided cylinders. If you want to get that round shape, just bear in mind that you will end up with some lumping on top of it like this. That's a really good thing to actually know when you're working with cylinders. All right. So I'm going to do is I'm going to press tab. I'm going to go in, delete both of these. Delete vertices to make sure we've got no empties left. And then what I'm going to do is I'm going to grab this under control Ale transforms directly, SgenGeometry, and now we're going to use this one because this one is based around 16 sides or edges. And now we can see as well that we get the right smoothness, because this is going to be for my store. All right. Further store, I'm going to bring it over to our little guy. I'm going to make it smaller and then we're going to press send and just make it the right size. Again, with the store, you can get away with it being a little bit higher because they do they are normally a little bit higher if you make a bar stool. If it's a bar stool, you would have the legs coming out here and you would have a little step up and then you can get away with it being a little bit higher. Be as though this is a medieval type dungeon thing. We need to keep the store quite low down. In fact, it would probably be lower down than the actual bench That's just the way they would be. We can see now, this is about the right size. I'm going to do is going to move in there over here now let's concentrate on creating the top and the bomb. Simply for creating the top and bomb I'm basically going to level it off. Bevel this top off. I'm going to come shifting click. I'm going to press Control B Now you can see, we do have a problem, and the problem is it's not beveling off correctly. Now that can even be because of my width. It could be because of the shape of what I'm doing, or it could be simply dance I've not reset the transformation. I'm going to press controls, I'm going to do it again now. Control A, all transforms right, x origins geometry. Now I'm going to press control B, and now you can see it's beveling off much, much nicer. What I'm going to do is I'm going to put it like that. I'm going to put this up to two. Then I'm going to do is I'm just going to change the actual shape of this. I I come in and change the shape, something like that, and now you can see that's looking pretty nice. I'm also then going to go up to file, I'm going to go to save And then what I'm going to do is I'm going to come and go to file again, and I'm going to just open son and open my dungeon props. And now I'm going to do is just show you that now when I come in and grab the bottom, control be to bevel everything has been reset as where it was when you first open up blend. You can see the shape now is not 0.5. It's on one segment, so that is why we're actually doing that. I don't actually want to level this off. I want to do this myself. You can see now we've got a really nice shape. Now, to help us out with the smoothing process, we should on something like this, be using shops. Let's go in and grab just this edge around here, going around here, this edge here, this edge here. And then what we're going to do is going to right click, come down and mark a sharp. Now you'll see that you've got a nice sharp edge going around there because this is made of wood. It's not made of paper or anything like that. All right, so you can see how that stores coming along pretty nicely. Now, what I want to do is I just want to come to the underneath because you might have some that are actually tipped over something, so we do want it to have an underneath. So all I'm going to do is going to press to bring it in, the insert. Then I'm going to press, just to bring it just to give it a nice bottom on it as well. Now we need some actual legs. Let's bring in a legs. The first thing I'll do is I'll press shift S, cursor to slate just to put my cursor right in the center of it. I want to press shift A and bring in a cube. I want to make my cube smaller. I want to press one to get it right in where I want it so at in here. I want to press control seven then to go over the top. I want to this time going to wire frame, so I'm going to press Z going to wire frame, like so. And then what I'm going to do is I'm just going to position it round here. I'm going to make it a little bit smaller, like so, and I'm going to position it right next to this edge here. I'm going to press D go back in solid, and now you can see that's in the perfect place apart from it needs to move it up a little bit. Move it just a little t like so. Now, let's bring it out. So all I'm going to do is I'm going to bring it down. Down to the ground plane, so I'm going to press one, bring it all the way down to the ground plane. And now I want to do is I want to actually bend it out. So if I pull this out now, so we can see that it is a stool, so it does want to be kind bent a little bit, not quite like this. In other words, what do I mean, if I press control, press the click, right click. Bring it in three edge loops, grab this middle one with old shifting click. And then what we're going to do is we're going to use proportional editing. But this time, we're not going to have it on random. We're actually going to have it just smooth. And now you'll see if I press three, I can come in and just pull that out. Ring in this a little bit, and we get that nice edge that we're actually looking for that nice smooth curve. Take it off and then just move it back a little bit back into place because we pulled it out a little bit. There we go. That's really nice. All right. The next thing, we want to actually level this off as well. All I'm going to do is I'm going to do this manually as well. Control click all the way up there. Then all I'm going to do is I'm going to press control B and just level them off just a little bit. And you can see now that's looking much much better. Now, I need to move this around into each of these positions, which is 120 degrees because if you split 360 degrees, which is a circle into three, you'll end up with 120 degrees. How do we do that? At the moment, if I press Shift D, you'll see I can't really position it where I want to. But if I press Shift D and drop it back, I want to move it from here. There's a really, really easy way of doing that. You press a little sideways v, which is next to the question mark borne on your keyboard. And then you'll end up with one that says three D cursor. Now you'll see that this moves to here. Now, if I press R and Z, you can see now that we can move around this based on the position of the cursor, which is really, really handy. Now if I put this over here, let's say, come down to the bottom left hand side. You can see at the moment it's on 240. If I put this on 120, we'll see that it goes right in the perfect place that we actually need it. Then if we press shift again, Z and just type in 120, press the enter boon and then you go. Now you've got a stool where all the parts are in the perfect place, and it was as simple as that. Just press the little sideways veh again. Put it on individual origins, and now it's back to where it needs to be. All right, so this stool is pretty much done. So I'm going to join it together, like, so press Control J, and there we go. One stool all done. You can see how quick that actually was. All right. So on the next lesson, what we'll do then, we'll finish the chair off hopefully, and then we can actually get the materials on, get them into our asset manager, and then that's the first actual props done and out the way. All right, everyone, so hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 15. Working with a Basic Workflow: Well, every want to blender an unreal engine, becoming a dungeon prop artist, and this is where we left off. Now, let's start with our actual chair. I'm going to grab my gun again, press Shift S, cursor selected just to put that there. Shift, let's bring in a plane. I'm going to make it a little bit smaller something like that, I think, should be absolutely fine. Again, I'm going to put it to where the backs of his knees are, something like that should be fine for a chair. And then what I'm going to do is I'm going to bring in the front of it. So if I come in, grab the front edge here, press S and X, bring it in very slightly, and then let's press control. Three, left click click, right click and marcosin. All right, with something like chairs and things like that. It's actually better if you probably don't use proportionality because they're two small parts basically. So what you want to do is just bring them up and things that. We still need to split them off though. I come in, select three, select vote for these G, they're split off now, and now you can press A, put this on individual origins, and then S and X, bring them in. Like so. All right. Now what we want to do is just mess around with the edges. I'm going to come in, pull this out a little bit, pull this one in. So pull them out, just a little bit, just so they look a little bit different from each other and now find what I'll do is I'll just grab both of these and just pull them up very, very slightly holding the ship like so. Just make them a little bit uneven like so. Press tab grab them all, press, pull them down to get right thickness, actual chair, there we go. That's the first part of the chair, actually done. Now we need some actual legs on the chair, so we'll do those thirds. First of all, I'm going to press shift, stelect shift A, bring in a cube. Make the cube smaller, and what I want to do, first of all, is I want to fit it so that it's on this part here. I'm going to press S. Bring it in. Pull it into place like so. Make it a little bit bigger. So. All right. That looks absolutely fine. Now what I can do is I can actually pull it down and bring it out. With a chair, what you want to do is, first of all, bring it straight down. Grab the bottom of it, press three, bring it down to the ground plane. And then what you want to do is you want to pull it out this way. So if you pull it out this way first, then press one and then pull it out this way, then you'll see, you've actually got the right actual consistency for how far each of the edges is pulled out. So that's really good. We can also then use our cursor in the center, the same way as we did with the stool. All we need to do is press a little sideways, three D cursor. And this time, we're just going to spin them around by 90 degrees. If I grab this one now, shift D, Z 90, shifty Z, 90, shifty Z 90, and now you can see that we've got the store, not in the right place. We can see that I didn't work out because I pulled them out. This one's a lot. That one's worked out fine, it's just these two. I'm going to do is I'm going to leave both of those. Instead of doing that, I'm going to press the little sideways v. Put it on individual orange again. Grab both of these, press Control J to join them together. Now I'm going to do is I'm going to set the origin to the center of here origin, three D cursor. Now we should be able to mirror them over. Let's have a go. Add modifier mirror, and there we go. Now they're in the right place. Now, there is one problem we have because these are this has gone in a little bit, so I can actually though make them a little bit thinner because at the moment, I'm just looking, are they too thick. I'm not actual sure if they're too thick. I think I just need to bring them in. What I'll do is I'll apply my mirror, and then what I'll do is I'll come to both of these, and I'm just going to bring them in a little bit. Now, I could I guess, bring them in with medium point or something like that, but I don't think I'm going to do that. What I'm going to do is I'm going to grab this one, bring it in, like so. And just make sure I'm happy with it. I'm happy with it there. What I want to do though now is bring this one in and I'm going to just bring it in. I could have mirrored it over. But being as, we want to have a little bit of randomness in there. I think they're going to be absolutely fine. Now, I'm also going to check and just grab all of these and maybe just make them a little bit thinner. If I come up to individual origins, press the SP just bring them in a little bit like so they look a little bit more like. Maybe that's a little bit too much, a little bit too much. Bring them out a little bit like that. Yeah. I think that looks a lot there. All right. So now, Let's put the back of the chair on. I'm going to do again is I'm going to bring in another e, e, S, and then, a little bit more. What I want to do is obviously, I want to place it against this one here, so I'm going to press seven, bring it over here. Press S and y, make it a little bit thinner, like so. Pull it over. Pull it in place, like so. All right. Now what I want to do is, I want to bring it up, so I'm going to grab it. Face select or three, pull it up. Like so. Now, if that guy sat on there, is that chair going to be the right place? I think it is, and now just pull it out like so, pull it back because it would be like so, and that then is looking really good. Now, we just need to mirror it over to the other side. So again, control A all transforms origin, three D cursor, and modifier, bring in a mirror, and there we go. Now, let's put it back on this, so we're going to use our cursor again. Shift A two, make it smaller. Bring it up like so, pull it back, and then S, make it smaller. S and y, make it thinner. Let's press one, bring it all the way up. I think I'm going to hide the tops of these out. I'm going to press S and X, pull it out like so, and then let's pull it into place and then rotate it round where it needs to be. I think it needs to be just a little bit bigger on this one. So I'm going to grab the bottom of it. And then we're going to grab all of it and rotate it. So we can see if we rotate it on the x and press three, we can actually line up near enough perfect to these a little bit less. Hold the shift board if you need to sloide down a little bit. And now let's make these a little bit more rounded. What I'm going to do is I'm going to grab each of these edges, like so. I'm going to press Control B. You can see that's not really going the way of one, and of course, that is because we haven't reset the transformation. Control all transforms right. Set origin to geometry, tab, Control B, and now you'll see it's going much better. Now, I just want to turn this up a little bit, making it a little bit more rounded like so. Yeah, I think that looks much better. All right. Now let's put the supports in. Again, ship a bring in a cube, let's make it smaller, and we'll have one right on the back of here. Let's pull it up. Let's move our guy out a little bit is a little bit too close there, and we'll pull this out. S and X, pull it out, like so, and then S and y see if that's probably going to be way way too big. Let's put it like that. Let's rotate it round, so Rx Let's pull it in, so S and X. There we go. Something like that. All right. Now, let's make another one. Shift A, and we'll do all these at the same time I think. S I need to keep it right in the middle. So I just move that back as you can see, I'm going to bring it down jaw under here, and then I'm going to pull it out. And this one here needs to be pretty thick, so we can see pull it back. That's about the right thickness, something like that. All right. Now we need just the bottom one, so I'm going to press shift, bring it down, put it into place. I'm going to make it a little bit. S, and then pull it out, S so it's not quite in the right place on there, so you need to pull it over a little bit next. Okay, that's now in the right place. Pull it back a little bit. We can see here that this is not actually working out. So this is definitely not working out. So what I'm going to do is, I'm just going to delete both of these, delete vertices. Again, I'm going to just mirror those over the other side, and then I know Yeah, you can see that. This one also isn't working properly. The initial thing I did with the legs is not working. You can see the ben here. Let's come in and we'll just do the legs again. Delete vertices, grab this leg. Control origins geometry. Let's bring in one mirror. Bring in a mirror. We need to set the origin to three D cursory. Now that's fine. They're fine now. If I actually press the y board can actually get away with that now? No, you can see this one's further out. They're actually working on that. Instead of doing that, we do it, I'll press control, apply that. Then now I'll add another mirror. Like so and put it on the y. Is that coming out? Is that working properly? I feel let's press one and lo. Let's press Z wire frame. Three. Yeah, actually they're exactly the same. So we just looked a little bit out, but they're actually the same. That's good. Let's press Z, solid. You can see it's a little bit out because we need to move them in, do that now. I'll press control. I'll come to this one again and I'll move it in and then I'll do the same with this one, move it in. So look at that and now that's look in absolutely perfect. Accept this bit. Now you can see, when I'm moving this fit in, it fits perfectly in there, unlike it was before. Perfect. All right. Now what we can do is we can join both of these together with control, and now we just need to spin them round. We're going to spin them round again based on our cursor. Control A transforms rightly.inthree D cursor, and we can also do at that because we have set the origins now. If I press sift D, 90, shift D, Z 90 shift D, As 90, and there we go. Now you can see, we don't have a problem in that. These are a little bit out. Let's join both of these up together with Control J. Let's press tab, grab both of these. Like so let's press S and y, pull them both out at the same time. We need to bring those in, of course, and now we'll do the same on this one. L and L S, bring them out to the right place. Now finally, let's bring each of them in. I'm going to press L, bring this in, same with this one, L, bring it in. Then one want to do now is I'm going to grab them both. I'm going to raise them up a little bit. I'm going to make sure that this one is not too far out like it is, as you can see. Then finally, one to do is I'm going to make sure that this back one's got a little edge there as you can see. Basically, all we're trying to do now is fix any problems we have with them. I'm going to grab this one. Well, pull it out like so. And looking all the way around, we can see that this needs to be altered as well. Let's bring it in. So like so. Let's bring this one in as well. Okay. Now that one's in. They're up. I'm just looking all the way around and now just making sure it's done properly. I'm going to press tab, double tap the eight, there we go. The chair is nearly done. The one thing we do need to do now with the chair is just on the next one, put some bolts on here, and then it's pretty much done, and we can start bringing in all of our textures. All right, everyone, so you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 16. Fixing Issues with UV Unwrapping: Welcome back everyone to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. Now, let's say, first of all, save out our work so we don't lose it. If you do lose your work, by the way, the best thing you can do is go to file and you want to go to recover, and you want to recover the auto save. Once you click on the auto save, you will see all of these save points where Blender has actually saved it out, really, really handy to know this. Sometimes Blender will save it sometimes it won't. You need to actually go into the preferences and change out how often and how many of these versions Blender saves out if you want to make sure that you're not losing your work. All right. So now that's done. Let's close that down. And what we'll do is we'll come in with the bolt. I'm going to grab this bowl here with L. I'm going to press you D. I'm going to press P to separate it off tab control a clicks at origin to geometry. What I'm going to do is I'm just going to make this a little bit bigger. I'm going to put it with my actual materials. I'm going to put it over here, just in front of them, and the reason I want to do that is going to make it a little bit bigger is because I'm going to be using this bowl a lot. That's why I want to do it. As well, this bowl already has, as you can see, the materials on it, which is really important for us. Now I can do is I can use this bowl over and over again, which is really great. I'm going to do now is grab this bow with shift, bring it into my chair, pre seven, make it smaller, so the right size there needs to be. Now I can put it straight in to where it needs to go. If I now lift it up, Like, so the bigger may be, by the way, the more stylized, it's going to look. Let's put it around there, like so and then let's press Shift D. Put it over here, pull it out, and then shift D. Same over here. And then finally, shift D pull it out, pull it in, like so. All right. They look really cool. Now, there is one problem. They all look exactly the same. So just to stop that happening, press control J, press tab, A to grab everything, you unwrap them again, and now they all look different. It's as simple as that. Okay. All right. So now, We've basically got our chair, we've got our bench, and we've got our store. We have to go through our list again that we want to do everything. The first thing I suggest that we do is we bevel off whatever needs beveling. Let's put it back on object mode. Let's make sure our cavities are on because they did reload blender it actually took off the cavities and now you can see they look at better, and now let's come and join all of these parts of. Just make sure that because we've mirrored everything and we might have some more mirrors on here. What I tend to do is, first of all, We will hide out the materials, hide all that out the way. Now what I'll do is I'll grab all of these, hide them out of the way with page. Then what I'll do is I'll press B because these are the ones that I want to level. Now, on some of these, I know that there is some modifies on them. So to stop me me all of this, which I don't want to do, it's better off to come to object, convert, and convert to mesh. Now, you can see there that it's grade out. The reason it's grade out is because all of this is orient. If I click on this, with ship click, come to object now, convert, mesh, and now you can see, all of those have been added. There's no modifies on them, and I can simply press control now and join it all up together. All right. So let's move on then to the next one. I'm going to do exactly the same thing. I'm not sure if there's a modifier on these, but you can see at the moment, they're all joined together. I think actually, there's no modifier on them. I think I already joined them all. So let's just come to our stool, and the stools already joined up as well. So everything is done now on these. Right. Let's move on to the next thing then, which is the bevel in. So we'll come to this one first, and we'll press control all transforms right clix origins geometry, and modifier bevel. Again, if you remember, I said, no 0.3 or no 0.5, whichever looks appropriate. No 0.3 looks good on that one. I'm going to apply that straight away. I'm going to come to my bench now. Control or transforms. I modify No 0.3. And that's finally come to my stool, where I don't actually need any bevels on there. Okay, so we've got all these. Now what we need to do is I need to press Tage bring back these, so now I need to join these little parts with Mcal checks or Control J. And now I need to do is smooth them off. So Right, Shades move, Autosve on. Now let's do the same with this. Finally, the same with this as well. All right. Now, let's check on normals. We're going to go face orientation, and we can see that we've got problems with these. I'm going to grab both of these together. Press tab because you can actually edit them both at the same time, press a to grab everything, shift, spin everything around, and there we go. All right. They're all salted Now let's come and name them. We'll come to this one first. Chair, you can see that. It's not right. So chair Let's come to this one. Bench. Finally, the last one, which is stool, like all of those are named now, and now we need to do is bring in our materials, which actually is going to be quite easy because we've got all actually created already, which makes things a lot easier. Let's go over to our UV editing panel. You can see our chairs already got materials on it. Now that they're going in the right way. Let's come to the first bit. We'll grab this part, smart UV project, and let's see how that's going to end up. A 90, spin it around, make it, smaller with the S p, G in the middle, and let's then have a look at how that looks. And actually, Okay. That's looking pretty nice. There's nothing wrong with that whatsoever. Now, let's come to these two here. We'll do the same thing. So, smart UV project, and then A or 90, spin it around, make it smaller. Again, absolutely perfect, how they come out. All right. Again, what I tend to do is once I've done them is H them out of the way. I'm going to get rid of these seams. I don't think we're really going to need them. So I'm going to press A. I'm going to press control clear seams. Just get those off. And then what I'll do is I'll make sure I'm on edge elect and I'll grab these first. So we'll do these ones first, smart project, and then a 90, make them smaller. There we go. Even these are going the right way. So Blends definitely got much much better with doing this. Now let's come to the bottoms of these like so. You can imagine as well, because we're putting levels on things, it can be a pain if you're trying to wrap things and mark seams. It's a long process. Smart UV project A 90, S. Of course, you could do all of these together. I just prefer to do them in this way because I feel it's just much easier. I'm going to do all these together at least, grab a mole. Smart UV, project A 90 bring them down. Tabtage. Tab voltage. Double the A and there's the actual chair done. Now, let's move on to the store because I do want to show you something on the store. Things like this and this on here, they are called Engons and you don't actually want gons on here, let me just show you this here as all of these sides. Now, sometimes when you take this through something like brush, Z brush will just put loads of holes in the mesh, and the reason is because this is an eng In other words, it's more than four sides. We can see here. We have polygons. And we can also see if you have to half of these, you have triangles. You can see the moment that blender works everything out in triangles, which is basically a polygon, and this is classed as one polygon. Even though it shouldn't be it should be an gone, and we don't want ngons in any of our game assets or anything like that. It's bad for animation, it's bad for texturing, it's bad for lighting, and it's bad for games engines. You really don't want to do that. Even though most of the time, When you send them out, certain software will actually triangulate everything for you anyway. But we want to make sure that we're doing these in a nice way so we don't actually want that. What I'm going to do is first of all, I'm going to unwrap all of this. If I grab the top of this, I'm going to press L, I'm going to press, my UV project, click Okay, and let's just have a lot. First of all, I think ngra material. Let's bring in wood, and let's have a lot that's going to look like on the top. Now, we can see that this is going the wrong way. I'm just going to quickly spin everything around. Eight 90, make it a little bit smaller. Let's have a look what that's going like, and you can see that on this, this happens a lot, actually. On anything where it's a stall or something like that. You can see we do have some problems here and I'm not happy with them. So let's press control A or transforms. Right click origins geometry. And now let's go in and unwrap these. I can see that this bit here, H is fine. This one here I'm not sure about. Instead, what I'm going to do is I'm going to mark some scenes out. I think I'm going to mark some seams there there and there and then there and on the inside of it. So right in there. You can't see these because those blue lines are on from those sharps. But if you do want to hide those out the way and move this over, it's just this point here and you'll see that you've got one that says, where is it hide Here it is sharp so you can hide that out of the way if you need to see that. Now, let's right click and mark the scene. Let's grab it now. Now one thing, the other thing is that you're always going to have a big seam on here, and you can't do anything about that unfortunately because they have to join somewhere, or it would be an infinite loop. If I click now, mark. The important thing is wherever you place these things you should be doing your best to hide these. This is the seam on it at the moment. Let's come in, unwrap that now. Let's unwrap and let's have a look what that actually looks like. Now you can see, we've got this one here that's bent like this, and this is, I think this one here, or it could be the top one. I'm not sure which one that is, but either way, this one needs spinning round. L to grab it all. We can see we've got another one here as well. L to grab all that one, 90 spin it round. I just looking, I think that's actually the underneath of it. Either way, I'm not happy with these look at the moment. Instead, I'll show you another way because this is not actually working to the way that we want it, what I'll do is on the next lesson. I'll go through other options that we've got to actually get this to wrap really nicely. The problem lies with the actual grain of the actual wood. You can see it's just all over the place, and it doesn't actually look correct. All right. I'll see you on the next one, everyone. Hope you enjoyed that. A. 17. Finishing our Table & Chairs: Well, everyone to blend an unreal engine, becoming a dungeon prop artist, and this is where we left off. All right. So now let's actually press shift H. What that does is it hides everything out of the way except the part that we're working on. And you can see that at the moment, we've got a seam over here. Now, we're going to use this to one round this a little bit different. If I grab this part here, Press L, right next to the actual seam. You have to click on the face next to the seam. Click. Come down to Map pack, click. Then what you want to do is you'll end up with something like this, which is a bit of a mess. Click again. Come down, follow active Puat, click, and now you'll see you end up with something much, much better. Now, this, we can actually wear with. All we need to do now is press SDNY There we go. S pull it together, make it much smaller now, bring it over. Put it in, and there we go. Now you can see that's open, much, much better. All right. So now let's do the same with this one. So if I grab this, L, Mac Pack. Then again, follow active quads. Okay, and then A, make it smaller first, G, smaller still, and then S and y, bring it in. There you go. That is how you can open your store in a more realistic way. Now I'm going to do is I'm going to do the same thing. Underneath here. Again, we should we might be able to get away with opening all of this. I'll give it a try. I'm going to grab this, grab this, and you can see this is the problem. Why we've got this problem is because it's open in a really funky way. Let's press, light Mac pack. Okay again, follow up quad click and there we go. Let's press A, S, bring it all the way in G to move it again. Then finally, let's have a look what we're looking at here. You can see I need to stop all this stretching. I'm going to press S and y. Like so, and there we go. Now it's looking at tom tom bar, as you can see. All right. That's looking really cool now. Now, I think I'm actually happy with how that is. It's just the bottom legs as you can see. All I'm going to do is I'm going to press Altag bring everything back. L L L, and let's try Smart UV project. Click Okay. A 90 spin them round, press the edge borne. And there we go. One stool finished. Now, finally, let's come to our actual bench. So exactly the same thing as we've been doing. We're going to go in. I'm going to grab everything. I'm just going to press control and clear all the seams first, and then I'm going to do this a bit of a time. Now, you can see at the moment. I need to pull this over. I also need to make sure I've got the right material, which is the wooden planks. Then we'll do the top posirsGrab three, Smart UV project. A, spin them around, S, bring them in, and there we go. You can see just how quick, you can move along with this, press h, just to hide everything. Now, let's see. Well, first of all, we'll do these because we'll know these will work out Smart UV project. A, 90, press the S born, G, bring it in. There we go, they're absolutely fine. Finally, now let's hide those out the way and let's see if we can actually get away with doing these as well. Smart project. Actually, Yeah, pretty much, they've turned out actually fine. The one thing is that I've not actually done a look at this one. Yeah, I did do it on that one. I've not actually leveled off this. Let's level up. Let's go back and let's bevel it off, I led off that. The bevel is on there. Yeah, it's just not applied that so. I'm not going to apply that. I'm going to see if it actually works without a plan that I just forgot to apply it. I'm going to do is I'm going to come now to both of these. You can also press shift age. That will hide everything out of the way apart from the ones you've got. Now you can see, The problems we've got is that these sides on here are all going the wrong way. I'm just going to shift select each of them, and I'm going to also, I think, have a look at those after. First of all, going to spin these round. 90 spin them round. Now they're going the right way. Now we just need the ves of them. I'm going to grab this one, control select this one. You can see the problem is they're all going the wrong way, and they're all split up and I don't really want that. I'm going to come to the bottom one. Shift select, control select. This time, we're going to press Control seven. What I'm going to do instead is, I'm going to press, come down, project from view. Now, if I spin these round of 90, make them a little bit bigger, you should see, and now they look absolutely fine. Now you can see how good they actually look. They're just underneath of them. Now, let's apply this actual bevel. Control A, apply it. Let's press tag when we're in. Edit mode, let's press tab, and There we go. The one thing I'm not happy with is still these. I need to spin these around. So I'm not happy with these parts. It's the front parts that need make the smaller. I'll do is I'll grab everything, A, S, make them smaller. Now they just look a tomb. All right. So now I'm happy with that. Now, let's go back to where modeling. Let's put on our actual cycles render and I'm just going to have a quick look at them before I sign off on these, making sure that they all look good. All the bevels are on. Look fantastic. Now let's bring this one over. And what we'll do is we'll spin it around. So 180. Just making sure that my origins are in the center, which they are and they're all named, which is good. Finally, let's put it on material. Now, let's actually put these in there. You've got tables and chairs here. Let's grab all of these. Three of them drag them, tables and chairs. Now we've got table stool, chair and bench. Let's grab all three of these together. One, two, three, right click Markers asset. D will tap the A. Now if we go to asset manager, we should have all of our props, which are here. This one, one, and this one, drag them, put them in props. There you go. We've got one missing the bench. Have a look. The benches there. There we go. Now all four of them. Now you can actually grab them all, bring them all. You can't actually bring them out together, but we can bring them out another stool, an a chair, bring a bench out and there you go. You can see just how cool that is. All right. That's those done now and now all we can do is we can move those out of the way. So if I grab all of these, like so, I'm going to press shift space bar, bring in my move, and I'm just going to put those over here out of the way and they're basically done. All right. The other thing is, I need to just look where this is so you can see that this bowl is here, so I'm going to call it bolt what I'm also going to do is I'm also going to create that as an asset, and I'm going to put it under something called parts. I'm going to click this part so come to all and put the bool then into my part. Now, why am I doing that is because anytime I need a bolt now, I can actually bring that out. Now, the one problem you will find with your asset manager, if I'd leave this off, you will see that it actually disappears our view. If I presly can see it's gone. We don't actually want to do that. But what we do want to do is be able to put this bowl into our materials and hide it out the way, so it's not in the way, and now we can use those bolts whenever we need them. Really, really handy to do that as well. All right, so I'm just closed up everything now, and you can see this is what we're left with. All right. So now let's come back to our references. And I think this is what we're going to do next, actually. So let's go to our references. I'm just going to close my other reference down. Open up my other references. So I'm going to come to my download pack. I'm going to go to my references. I'm going to open it up. And the one I think that we're going to be creating now is these small props. Now, if I open this up, I will show you that I put all the small props together. I think for the next part of our modeling journey, let's actually focus on the plates, the spoons, the jog and things like that before finally moving on probably to the Alemgs because they're a little bit more difficult, of course. All right. I'm going to put that on the left hand side of my screen. I'm going to put this down then. The first thing is if you need to just bring in your reference, I'm going to go back on modeling, make sure that you're looking at it straight on as you're bringing your reference and let's save out our files. I'll just save it out and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 18. Working with the Solidify Modifier: Okay. Welcome back, everyone to Blender and oragon becoming a dungeon prop artist, and this where we left off. Now, one thing I did forget. Let me just zoom in to this. And you can see that I did forget to triangulate this. So it's still end go. So what I'm going to do is, I'm just going to grab it. And there's a really, really simple technique to actually fix this. All you need to do is you need to right click come down to where it says, triangulate paces. You must make sure that you're in face leck to do this, so triangulate faces, and then come down again and tries to quads and there you go. Everything will go back to normal except it will have triangulated all of these cylinders for you already. So now that's perfectly. Ready to go. And the other thing is it's not altered the UVs or anything like that, perfect. All right, so let's make a start in the middle. So I'll do is shift S curse it to world origin. Let's first of all, make a start on our basic plate. **** bring in a cylinder. Again, I'm going to put this on 16. I don't want it too high. I want to press S. I want to bring my guy over a little bit, just so I can get a good idea of scale, as you can see, if this was a plate, it would be absolutely used. So let's make it a little bit smaller. Something more reasonable like this size, S pull it together, bring it up, and that looks about the right size for a play. All right. So now we just need to make it a very, very simple play for our dungeon. So let's grab the face. We're going to press and then I'm just going to bring it in. So, pull it down, and there you go. All right. So that's the play simple as that. Now, let's move on to the actual bowl. And the we'll do that is I'll actually bring in a UV sphere. Let's press shift a mesh UV sphere. Again, I'm going to turn this down, it's too high. Let's put this back onto object mode. And then what I'll do is I'll put this on 16 as well. I think that'll be a good number. I think 16 and 16. Maybe bring this down a little bit. Something like 12, and I think they'll be much better. All right. Now, let's get rid of the parts we don't need, which will be this edge going round here because you can see this is the halfway point. If we get rid of this one going around here, we delete. Places, off the top, delete says, Here is my bowl. Let's make it a little bit smaller. Let's bring it up just to make sure it's the right side. I still a huge bowl, let's make it a little bit smaller. Let's press just to bring it down a little bit to make sure that's looking much better. I think also on a bowl like this, they would also. If I grab if I press control seven and come to it, what I can actually do to grab all of these going around is press C that will give me a circle select. If I click it going all the way around here. Then what I can do is I can pull it down. Z, pull it down. Make sure you press it twice just so it's going along that line. Then all you're going to do now is press S and Z. All I've done there is just basically plan it off. Now I can actually pull it into place like so. You can see how easy that was to actually get that bowl there. Now, the one problem you're going to have with this is that you need to solidify this edge and we've got this bottom part on here. That's not really going to help us. What I'm going to do is I'm going to split off my edge. The way I'm going to do that is is I'm going to come in and s click, and then I'm going to press control and a little plus on near the number path going all the way down to here there, then what I'm going to do is I'm going to press y. G, and now you can see it's split off like so. Now I want to do is, I just want to fill this face in. If I hide this one out of the way, come on. Old shifting click just to grab all that going all the way around. What I want to do with this realistically is I want to bridge edge loops. To do that, you need to have an empty part. Basically, it needs to be two separate parts like this, and then you can right click. Come down, bridge edge loops. Now you can do is you can just fill those parts in. It just makes it really, really clean mesh if you do it that way. So. All right. So now let's press tage bring back my bowl. And now I want to do is I just want to split this bowl off away from this part here. So if I grab it with LP selection, tab, grab it again. Control A, all transforms, clicks origins geometry. And now let's bring in another new modifier. So add modifier, come down, and we're going to bring in one that's called solidify, and there you go. You can see exactly what that does. Now, let's bring it down a little bit because I think set Actually, that might be right. If I bring this down, You can see holding the shipboard and I can make it a little bit thinner like so. Finally, I want to make sure it's got even thickness on. Always make sure that's on. Now, once you apply this with control, you'll see that we've got full mesh there. Finally, then, I just want to bring this bit up so we've not got that gap in there. I'm going to grab this bottom bit. Again, I want to make sure I'm just grabbing the top of it. I'm actually going to come in. And I'm going to hide this ball out of the way just so I can see what I'm doing. Then what I'm going to do is I'm going to grab this going all the way around with shift click right click. Mark seam. And then I'm going to press taptge just to bring about the top of the bowl. Grab the bottom of the bowl, and now I can come in with face leg because we've got that seam on there pressing L, and now I can just bring it all. I'll just bring it up double tap the A, and there you go. That is a really, really nice bowl. All right. Now we've got a ball. We've got our plate. Let's join these both together because we've got no modifiers on them anyway. So control J. Bring it over. Now let's make a little spoon. The way I'm going to do a little spoon is probably just use a cylinder and pull it out or something like that. I think that's probably going to be the best way actually. I'll press ship date, bring in a cylinder. 16 is absolutely fine. Let's press S on it. Let's just use the top of it. I don't want to use all of this, of course. I'm going to come in, grab the bottom, press control plus again, press delete faces, and then you should end up with a spoon like this. Now, what I'm going to do now is stretch it out a little bit. Well upgrade selected S and y, pull it out a little bit. You can see now how easy it is to make that spoon. Now, of course, the spoon is indented in the middle as well, so we need to do that. The easiest way to do this is to press, bring it right in. You will see that this is not really working very well, it's crossing over and things. Let's first of all, resell transformation. Control A, reset, right click origin geometry. Tap again, I and now bring in, you can see we can bring it in much, much closer now. Now, you don't want to break it or anything like that. You just want to bring it in eng it's like that. Then what you want to do is you want to now bring this in. You want to bring it in making it more rounded. All right. Now finally, bring it in again with. Making sure we're not going over again. Now we've got enough ed loops in the middle to actually do something with that. All we need now is more on the outside. So it's control. Let's bring three, left click, right click. And now find we can go in to the center. Grab just the center. Put your proportional editing on on smooth and now just grab it with this blue arrow, bring in There you go. There is your actual spoon. If I press tab now, you can see that's looking pretty nice. All right. Finally, then what I want to do is I just want to bring out the edge shift and click, bring the edge. So now want to make the actual spoon come out. So I'm going to grab the backs of these, press seven, and I'm just going to extrude it back now, so and y, pull it back. And that's it. Just a simple, simple spoon. Even like how this edge is coming out here. All right. So now, all we need to do is just need to give this some thickness. Control A, A transforms, right click, Sage and geometry, and all you want to do now is just add in another solidified. We'll bring it the other way. So if I bring it up, set which way is going to look best. Probably that way, actually. It's just a simple tool anyway, even thickness on, and then we just need to make it smaller. Let's apply that as well with control A. Let's bring it over just to make sure that it's the right size. So, that's looking pretty good. So. All right. I'm happy with that. Now, before I carry on with the elmogs, I think what we should do is we should just bring in some materials for these and make sure they're correct and everything like that. We'll do that on the next one. Now what we'll do is we'll save it out, and then the next one, as I say, we'll bring in some materials. We'll actually create a new material as well. So we've got that ready to go. All right, everyone, so you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 19. Finishing off our Utensils: Welcome back everyone to Blender Anal Engine becoming a dungeon props, and this is where we left off. Now, let's bring in our materials again. So we're going to bring in our materials. Let's put it onto our cycles render. Let's grab one of these materials. Shift D. And then what we'll do is we'll come over to this material. The one we want to bring in. Let's have a lot end, so we'll open up our textures again. The one we want is called Dungeon wood course. If I grab this, and I'm just going to copy this part of it. Control C. Let's come to this one. I'm going to minus this off. Click a new one. Control V press enter, and now let's go to this one first. So we'll go to shading panel. Just going to steal for these. Control C, and then I'm going to put it onto cycles render, going to come to this one, press Control V, and that's those in. Now I can come to my principled control shift T, and now I can go to the dungeon wood course, which is this one here, grab all of these except the direct text. We don't need direct text, so we can get rid of that. And then I'm going to do is grab all of these. The direct text, by the way is there because if you're taking these into unreal engine, you're actually going to need those, it's important that you actually have those there. I'm just delete my now just so you know which one it is that we're using. But for you, just make sure that you keep yours in there, or just redownload them if you delete some don't keep deleting them like I am. Let's click on the principle like so. There we go. We can see now we've got our wood course. Now, let's bring in our actual color, and we'll plug that into our color ramp, and then we'll plug this color into the top and finally then into the bottom. Now we should be able to bring out that material a little bit. Let's have a look at strength of our wood. Let's zoom up to it. We dot turn this down to zero. Yeah, something like that looks fine. I'm just looking now at the strength, can I bring that out a little bit. All right. Something like, we'll turn it up to a little bit higher 3.6 or something like that. All right. That's looking pretty nice. Now you can see why we've done that because now we can use that on our cutlery and things like that. Let's go back to modeling now and now we should. If I turn this onto material. And now let's come two. So we'll hide these out of the way again. So come to our plates, press the little dot on, and now let's start UV on wrapping these. So I think first of all, I'll just grab them. I'm looking at beveling them as well, so I think I'll do that. I think I'll just bevel tiny bit. I'll do some manual beveling on this, not actually using the bevel modifier. A I'll do is I'll just come in old shifting clip around each of these, and I'll press control be level them off. You can see that it's not working correctly, and that's because I might as well do them all at the same time, actually, I'm just shifting each of these. Control A or transforms right Origins geometry, and now I should be able to go in and level them off. I'll do this one first. Control B, Bevel it off. Just a slight bit, as you can see, thinking I've got two bevels on there. I really don't want that, so let's go back. Control B. Let's just turn that down to one so that looks a tombar Now let's do this one. Very very slight level on the plate, control very slight so Let's do the underneath as well. Control B like so, and the spoon wants also probably a very slight bevel on it. So going all the way around the bottom on the top. So on this side. So. Press the dot bond zoom in, so I can actually use it, press control B, pull it in, very, very slightly, like so, and that's in a tum be. All right. So now let's bring in our material. So we're going to bring in the ward course, and we're going to put it on each of these. So. Like so. All right. You can see exactly what it's going to look like albeit though, it doesn't want to actually look like that in the end, so we're probably going to need to mark some seams on this one. So I will actually do that. I'll mark a seam going round here. I'll also mark a seam going round here. So mark see and I'll also then marco sin probably from this to this here. Click Marcos. All right. Now, let's try unwrapping this one. I'm going to grab it. I'm going to press, Smart UV project and click Okay. The actual bottom of it, as you can see, as unwrapped really nicely, is just this bit here, which we knew we'd have a problem with. All we need to do now is just come in. Grab it from here, press L, and then we're going to press. I'm going to light my pack, press again, and then we're going to follow active quads, click and there you go. Now, you can see it's looking Tom sts bare. I don't even think I need to go in and actually alter that. Maybe I do. It's a little bit too grainy on this, so maybe I should. I'm just going to go now to me UV editing. I'm going to press tab, I'm going to press dots to zoom in. And then what I'm going to do is I'm going to think, let's try bringing that in first S and Y. You can see here that I've still got my proportional editing on. So when I brought that in, you can see, it's a little circle there. Make sure it's turned off. The S and Y. Bring it in a little bit. Then let's comb it to the center of this one, so we'll grab it with facet. I'm just looking if I bring this out a little bit, that's going to look at some bow as you can see. Let's grab the bottom of it, A S, bring it out, and there we go. That's looking really nice. All right. Let's shade it smooth. Bring in our auto smooth and there we go. Then finally, I'm thinking, you've not got any move tool in here either, so I'm just going to press space bar, bring in my move tool, so I've got that. I'm thinking that I'm pretty much done with that, actually. Now, let's come to the bowl. The bowl same thing again. Can I get away with unwrapping it all in the same way. I press A, should just grab it all and let's come too smart project. It's going to be a mess like that. We need to actually sort that out. I'm going to pretty much do what I did before by marking some seams out. I'm going to also just to make it a little bit easier. Sometimes it is. If I pull this right over, I can put it on object mode, and then I can really see what I'm doing. I can actually hide the bottom of it out and just grab this part here. I'm going to grab this, grab this, and then grab this. I'm going to grab it around here, right click and mark seam. All right. And then I just want to see going down here. So old shift and click, and it's going to take it going all the way around. I'm going to mark a scene. And then finally, I'm just going to get rid of this one here because we really don't need a seam on there, so clear seam, and you should end up with a seam going down, a scene going down here. And basically, you should be able to up this much, much better now. Now if you put this back on material, and grab it again, pressure you unwrap. You will end up with something like that. Now, this part is not none of it is perfect, as you can see, so we need to actually sort that out. The middle part of it is okay and the bottom part of it is okay. It's just these edges that we need to sort out. So let's do the same thing as what we've been doing so. And the reason as well, you can use something. So if I go over the top and I'll just show you and you can use spear projection. But the problem is because it's a bowl and the wood grain, as you can see, It's tried to actually make it like that. We've got a seam in there, which is messing it up. But the reason why we can't do that is because that's not really the way the wood grain would go, as you can see. Again, not going to work. You could also as well unwrap this project view, but I think the best way to unwrap this is the way that we're doing so grab this one, L, and then lightmap pack. And you and follow up to quads, click. There you go. You can see just how much bare that actually looks. Now all we need to do is we need to just put it into place. I'm just going to make it a little bit smaller, put it into the middle, make it bigger then and then I'm just going to look and that's perfect. That's the way they'll want it. So now let's do the inside as well. Follow quads. Okay. There we go. All right. I think, actually, I want the other side. It's probably 90, spin it around. Yeah. That's the way I want it. All right. I'm happy with this bit here. I just need now to unwrap this part on the bottom. You can see here. I need to mark a seam somewhere along here. I'm going to grab this part here, right click, Mark then I just want to sam somewhere in the bott. My as we put in the same place as this one grain. I'm going to grab this click. Again, grab the bottom of it, L. Pack you follow a quads. A G, bring it into the center. S and Y, pull it out a little bit. There we go. Perfectly unwrap. Except maybe I'm just looking at this middle bit. Do I want to unwrap like that? I think actually, I'm going to leave that. I think it looks good enough, I think. All right. So now let's come to our spoon and we'll see, first of all, if we can unwrap it like we did before. Smart UV project click. A 90. Okay. Yeah. I think actually with the spoon, probably going to be okay as long as we just rotate it so it's straight, not an angle. I'm just going to rub a spoon in the middle. You can say I've got a few problems there. I'm just going to grab it, spin it round. There we go. That looks certainly bad. There we go. I think that is going to actually look okay. All right. Let's put the spoon in to the bowl. I'm just grabbing it, putting it over. Then all I'm going to do is just rotate it so, rotate it, put it up against the side. So. Let's make sure it's in there, and then just rotate it on the Z, so there we go. The move it a little bit over it. Double There we go. Bowls and plates, really simple things. Now, I'm just wondering, whether this spoon would be made of maybe it would be. We do have some mel that we can use as well, remember. I think what we'll do is we'll give the mel a try as well. I'll grab my spoon because we sell pool materials, really easy now just to go and change it to something else. On old or well we go on grains shade it smooth as well. Let's put on our auto smooth. Let's make sure our bowls also shaded smooth. There we go. Let's also bring it because it's stuck in there. You can see that now. There we go. I'm thinking should have been metal. Let's put this onto. Yeah, there we go. Onto our render. Now we can see exactly what we're looking at. All right. So I'm happy with that. It's just a spoon now. I'm not happy with stuff. I'm going to pull it out. Going to go back to my material. Let's put it on the wood course. Let's try the other wood. Where's the other wood, so we've got wood. There we go. Okay. Yeah. I just I think I'm going to have it on the wood course, actually. Yeah. I think I'm going to have it like that. Just blends in a little bit too much. So I could go in and make another material and make it a little bit darker. I'm going to actually check out the iron old. Yeah, I'm going to actually every light that. I'm going to make it metal instead because then if you do forks and things like that, then Alice you can use them. All right. Let's go back to modeling now. What we'll do then is we'll just save out the file. And on the next one, then what we'll do is we'll actually name these, and then we can start on our job. We'll do the job next and then finally we'll move on to the bogs. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot by bye. 20. Using the Grease Pencil for Curves : Welcome, one to Blender and real engine becoming a dungeon prop artist. Now, let's move this guy over here a little bit, and what we'll do is we'll start with an actual cylinder. I'll bring a cylinder in. I think we can get away still with 16. Let's try that. Let's make it a little bit smaller. Something like this size, as you can see, looks about the right size. So now we need to do is just shape this way we want it. All I'm going to do, I'm going to come in, press control. I'm going to bring in a few edge loops. So left click, right click. You can see I brought in six edge loops down here. You can also increase this if you need to. So just bear that in mind. And then what we'll do is we'll get rid of the top and the bottom. Delete top bottom faces. So it's going to make it easier for us in the long run. And now what we can do is we can come in, grab the bottom, so old shift and click, put proportional editing on, and now actually we can bring it in. So we can bring in our jog and really start to shape this the way that we want it. So as you can see, let's bring in the neck of the jog. Like so, and you can see how easy that actually is now to shape that the way we want it. All right. Now finally what I'm going to do is I think what I'll do is I'll bring it out, so I'll press enter, take off proportional editing, and then instead of pulling it anywhere, I'm just simply going to press S and that then is going to bring out that bomb for me like so. Then all I'm going to do is just pull it down a little bit. Okay. And there we go. Now, finally, let's pull out the lip of this. I'm just going to grab this. Just make sure you're in the middle of it, so you can see here I'm in the middle I'm pulling it out now, like so. Then all I'm going to do is just pull these out a little bit just so it's not too much of a harsh edge like so. I think also we just need one more edge loop. Control click right clip, and then I'm just going to grab this one and just pick it up a little bit. And now you can see I've got that really, really nice shape. Let's click and shape smooth bring on auto smooth like so you can see that we've got a few lumps and bumps and things like that. You might not want these in there if you want these smving out, the best thing you can do is just come in, grab this, for instance, press control B, and you'll see now that you can actually smooth those out. All right. I'm happy with that, except this fear. I'm just going to go back because I don't actually want min smoving out. But if we turn down this oral, you can see now we can get rid of all those lumps and things like that. All right. Now, let's come in, put it back onto object mode and go a good idea now where it looks like. I'm going to level this out a little bit. Yeah, I think I'm happy with how that looks. Now, let's come in and bring in a modifiable before we do that, control or the transforms. Bring it not be a solidify. There we go. Let's give it some thickness. Actually, bringing that in looks absolutely perfect. Just make sure that you can see here where it's not quite level. Even thickness on we'll just make sure it all levels it out. We need to bring this up a little bit, something like that. All right, but apart from that, really happen. Let's breast control a and then what we'll do is we'll come in now and just drop that one down a little bit because it's not quite right, bring it down just a little bit. Like so, and there we go. All right. Now, let's level off these before we're going further. Shift click Shift click Control B level them off, holding the shift button so. There you go there you job now I'll do is well we'll actually just add in a bridge to this bottom part. If I basically let's bridge the top and the bomb. Well, we won't. I'll show you a different way of doing it. Shift click, grab them going all the way around. Press the born, just to fill in the face, grab this one going all the way around and press the F born to fill in the face. There you go as simple as that. I don't think You might want another bevel on here, I grab this, press control B, you can see you can get a better lip on there if you want that on there. I think actually that looks quite good. So I think I'll leave it. All right. So now, we need just a handle on the and I'm going to show you I think on this one. We'll just use, we'll show you. We'll show we're going to use it on the multiple, we'll do it on this one as well. What we're going to do is going to bring in a plane. First of all, though, we want our plane to come in where the drug middle is. Shiftaselected, shift let's bring in a plane. Spin the plane around. RX 90. Let's make it a little bit smaller. I'm just going to pull it out here, and this plane I'm going to basically used to draw on. Now to draw on something, you need to have a curve already in place. The best way you can do that is press shift A. Come down to where it says curve, bring in a bezier curve, and now you need to do is press tab and just delete everything. Just make sure you press A, and then you just complete all the verts. In other words, you can see here the bezier curve is here. When I delete it and verts, the bezier curve is still there. Yet, there's nothing in here. It's basically an empty. Now with this empty, when I come over to the left hand side, where this draw icon is, And then what you want to do is you want to come over. Open this up, press N if you want open, go to tool and just make sure that it's on surface. Now you'll find is that you can come in and you can still move around. But what you can do even bars, you can just bring it out. Okay. And you'll end up with a nice curve for your actual job. Now, that's really, really easy to do. Now, once you've got your curve in, just let's see what it looks like. Because if you're not happy with it, you can detraw in another curve. What you want to do is you want to come round, go to geometry and open this up and you want to basically extrude it. Now, sometimes when you extrude it, it will be going the wrong way. Now, all you need to do is just press tab, grammar en shift, and what they'll do is it'll spin it round the right way for you, as you can see. Now, some of the points you might not be happy with, but don't do anything about that yet. First of all, what you want to do is add in another modifier, come in. To add modifier, solidify, and then just right click and shade flat. Now, that will give you a good idea of what it's going to look like. Now finally, bring it down a little bit, so bring thethickness out a little bit to where you want it, and then just set the offset to 0.5. What I'll do is it will put it right back in the center of the jug base you can see now if I press seven, that this is in the center. If I just press Control Z, you can see it's over this side. Now I want it right in the center. 0.5 and then just play around with it a little bit, and we can move it right into the center like so. All right. Now, I'm happy with this. I'm just not happy with let's say these bits here, for instance, this is not very good. You can see we've got a lot of mesh going over the top of each other. The main thing is though, I'm just going to leave this out of the way. I'm happy with the thickness. And no, actually, I'm not it needs to be a little bit thicker. I think it's a little bit too flimsy at the moment. So I'm just going to bring it out a little bit like so. Now, the other thing you can do with this is if I come in and let's say I want my jog, let's put the movement toll on. I'm going to grab this vertice here. I'm going to press one, I'm going to pull it out a little bit, and then I'm going to grab this handle. Now with the handle, you don't actually need to use these. If you press one and you straight onto it, wherever you move it, it will keep it in line with where you're looking. There is that to consider. Now you can see just how easy it is to grab them both and shape this to the way that you want it. As you can see, There we go. I think I'm happy with that. I'm going to actually shape this one as well, so I'm not happy with this. I'm going to press G, move it up in its place, and then I'm going to press G. Just try and get this one into I want it, there you go. Now you can see, beautiful org press G now can also pull this out as well. Let's try and move it around. All I'm doing is just grabbing it, pressing G just to get it into position that one. Now, the other thing you can do is as well, you can grab both of these points, and if you press and, you can actually make them thinner as you can see. It is best used though with proportional editing. Now if I pre t bring this out, you can see it can make the whole thing thinner as it goes around here and down to the bottom, so it gives more realism. Now, last of all before we do something with this, at the moment, we have got a lot of polygons in each of this. But we can actually turn those down. If we come in, turn this down to one, you'll see it just basically gets rid of all the polygons. Now, let's just turn it up. To something more reasonable like six, and now you can see we can get the same effects with this many polyenes. I'm going to turn up one more thing just to get that smoothness. Finally, now, we've got a slidify on here and we've got a curve on here, and we need basically to apply those to actually go in and mess around the mesh a little bit more. The way to do that is object, convert mesh, and there we go, everything has been applied now and it is actually mesh you can see it's done all of that job for us. Now finally, I want to actually level these sides. Shift and click on the sides. Just to smooth them off a little bit. Control B so then we go. Now, let's shade smooth. Let's join it to jug Control J, and let's bring in Auto smooth at 52. There you go. A beautiful jug. Okay. And we did it really, really easily. I'm really happy with that jog. You can see it really comes together really well. Hopefully, your jogs looking really nice as well. And I think what we'll do on the next lesson is we'll move on to our actual ale mugs. Because based on now we've done those, the almugs are really easy actually because we've got the skills from all these that we've learned. All right, let's go to file, save it out and I'll see you on the next on run Thanks a lot. Bye bye. 21. Creating the Ale Mug Handles: Welcome back everyone, Blender and real engine, becoming a dungeon prop artist, and this is where we left it off. Now, let's actually first of all put these on the floor, so they're actually not floating in the air. So I'm just going to press one, making sure they're on the ground playing like so. I'm going to grab this one and this one. So, grab my jog, it up, and I'm just going to move my jog Over here, like so. All right. Now, let's press Shift, su world origin. Let's bring in. Again, we'll bring in another cylinder and we'll do both of them at the same time. We'll just move a little bit over there. Shift let's bring in a cylinder. Let's make it the right size. So something like that. I said, pull it up, and that looks a fairly decent size. Am. Then let's come in, grab the top. And the bottom, delete faces. Now, I always tend to work where we're working with multiple assets. Try and build them pretty much at the same time because then you can use pretty much the same things as what you've done for the first one. Like with this one now, I can press tab, shift D bring it over, and now I can work on these two at the same time. Let's come to this one first. We add in a few edge loops. Control. Let's just bring in three, left click, right click and then we'll do is I'll put proportional editing on. Grab this center one. We're going to bring in just a little bit like now we'll come to this one. Pretty much the same thing. Control three. Left click, right click. Grab this center one S, bring it out. With this one, I'm just going to make it a little bit smaller. I don't want them to be exactly the same size. All I'm going to do is just bring it down. Press one. Then I think actually I'll leave them like that because I do want to bomb on them as well. I am aware of that. A The next thing I want to do is I want to make this metal bands that go around them. Luckily for us because we've brought in the edge loops, we can actually use those to actually put the metal bands on. I'll come to this one first. Old shift click. Then we'll do is I'll press Control B. Like so, and then we'll use those for those metal bands. Now, I just need to bring these out. I don't really need to do anything else with them. So all I can presses enter. This time, instead of pressing S, take off portion ing, you'll see that when I bring them out with S, it's not really how we want it because you've got them coming out larger than the inside, and that's not what we want. Instead, you can just press and just kind of move them out and you'll see that they come out then, really, really even and they much better. So if I shapes smooth now, and putting auto smooth. You can see how nice that actually looks now instead of bringing them out at an angle or something like that. All right. Let's do the same with this then. A shift click Shift click three times. Control B, and we'll make these ones a little bit smaller, I think, something like that. Again, test, bring them out, so there you go, shades move Auto move on, and there you go as simple as that. Now, we could use a solidify on these, but what that would mean is that we'd actually have to take off these parts to actually slidify don't think that would be the right way to go. I think what we'll do though is grab the top edge. We'll just press S, bring it in a little bit, and then all I'm going to do is just bring it down. Press Z, pull it down to the bottom near enough, which is around here. Something like that. Then all I'll do is I'll just make sure that I'm happy with the inside of it. With the inside, I'm going to bring in probably what, three edge loop, something like that. Control one, two, three, left click, right click. Then all I'm going to do now is just pull this out a little bit. Okay, so. There you go. You can see we've got the inside of it, done. Now, let's come to the bottom of it. Ship click, ship click. I'm going to bridge these edges, right click. Bridge edge loops, and you'll end up with something like that. Let's bring the bottom of this down a little bit, so the inner part of it down just to make it a little bit better. Now finally, let's create the bottom of the elm. Shift click, press one, press to pull it down. And now let's create that bottom bin. The way we're going to do it is basically the same way as what we've done these. Shift click, grab it all, enter, and then altern finally just pull it out a little bit, and there you go. There really, really nice almo. Now finally, all we want to do is just level off these tops now. We'll come in, shift click, shift click Control B, level them off a little bit. There we go. Now, let's do pretty much the same as what we've done with this one as well. All I'm going to do is I'm going to come in first of all. I'm going to press S, bring it in. Then we're going to bring it down to near enough the floor. E and Z, well, near enough where this one is. Us roundabout there. Then one going to do now is I'm going to bring in some major loops on the inside. Control three left click right click. Grab the middle one, press the S born And then what I'll do on this one is I'll grab both of these at the same time, the S board again and just pull them out and there we go. Now, the same thing with the bomb. Old shift click, shift click, right click bridge edge loops. And now fine let's make the bottom part of this. Olshif click one E bring it down, and then shift click going around and like so, and then enter alternS then bring it out. There we go. Another nice output. Now, fine we just need to fill in these so we can see that these aren't filled in. All I'll do to do that is come in, grab that one, grab the bot one, then on this one, Zach same thing. The bottom. All right. There we go. Now, the one thing we're missing is just the bevel on top of here. Old shift click Shift click Control B, pull it out. The Tad so and there we go. Okay, two maps done. All we need now is the handles, and I think we'll have as you can see on the reference, more intricate handle on this one, the more simple handle on this one, and we're going to do it basically the same way as what we did with this jug here. Let's come in, and first of all, I think we can do both at the same time. So what I'll do is I will press shift A, bring in a planet around so 90 Now just move it to the center, like so, and now bring in a curve, so bezier curve, tab, A, delete t now it can come over to the right hand side. This should already be on surface anyway, and now we should be able to come in and create this lst. Let's do this one first. I'm trying to follow the way that this actual lm looks. I'm going to do that one. Now with this one, I'm going to have it nice and round a little bit more so don't worry about curves because at the end of the day, we can move these in and out and things like that. So don't worry too much about them. Now I'm going to do is we're going to leave this behind there, this plane. If yours aren't like you want them, just have another go and just make sure you're happy with them, and then we're going to do because these are both together. We can do them both at the same time. I'm going to come in first of all, and use you can see, one is going like that, and one is going like that. I think it is this one. Come in and bring my move tool. Make sure I've grabbed all this one, so I'm going to press grab it all, press N, and then that'll spin it around exactly the same way as this one. That's exactly what one. Now the thing is these, I think are a little bit too thick, so I'm just going to bring my extrude down a little bit, something like that. Now finally, I'm going to come. And bring in my solidify. I'm also going to put this on shading flat with right click, right click and where is it smooth shading? I need to press tab. Shade flat. There we go. Now we know how far we can bring out this. So let's bring it out. You can see that one is going this way and one is going this way. I'm not actually going to move them at all. I can bring it a little bit in as you can see actually might be to get away with that. Yeah, that should actually be fine. All right. I'm happy now with the thickness. Now, let's come to this one first, and we'll fix this one. I'm going to go in to this. Okay. And I'm looking I'm straight on again, so I press one on a number pad and all I'm trying to do now is just make sure that this here is going to go into the right place. So I want basically a thing on here which is going to hold them on into place. Something like that. And I think I can get away with that. All right. Let's do the bottom one. I think actually the bottom one I'm already happy with. The one thing now is, I just want to grab the bottom, put proportional editing on, and then just press T s and just make it a little bit thinner as it comes down to there. All right. That's looking pretty nice. Now, let's come to the other one. The other one, not so happy with. So let's grab this. I'm going to grab this handle, press G with that proportional editing on, and just spin it around. Like so, and then G. And then I'm going to grab both of these. Press G, like so. Again, I'm not so happy with this. I'm really just trying to shape this into the right way. Now, the other thing you can do is if you having problems with the angle and things like that. What you can do is you can grab them both, press delete and just delete the vertices out the way, and then bring in another vertice I'm going to grab this one and this one, right click, subdivide. Now going to bring this one out, you can see it makes it a little bit easier for you to actually get the shape that you're actually looking for. All right. Now I'm going to bring this one probably into here, something like that. And then what I'm going to do is I'm going to bring this one maybe out a little bit. Still not happy with that how it is. Yeah, that's much better, and then I'll bring this one spin it around. Yeah. I think I'm much, much happier with that. With this one, I'm going to keep it not smaller going down. I just want it like that, just a simple amg something like that. All right. I'm happy with that. Now, I'm probably aware that down here, there's probably going to be some issues with the mesh, where they're crossing over and things like that, but I will show you how to fix that as well. Again, because we've got modifiers and we've got curves on there, all we need to do is object convert and convert to mesh. All right. Now if we come to this one, press tab, you can see, actually, we've done okay. We don't actually have any problems with it. Now, if you do have some problems, all you can do is you can just go in like this and just press delete and just dissolve edges, and what they'll do is just get rid of those edges that are overlapping for you. Of course, mine aren't so bad, but the one thing I did do is I forgot to turn down the amount of polygons. I'm going to actually go back before I did that and you'll see if I go back and go to my curve. I just want to turn that down. I don't want it so high, so I'm going to have it on seven like I did with the other one, and then I'm going to go to object, convert, mesh, and there we go. All right, everyone. So on the next one, we should be able to get these elmgs finished, and then we should be able to move on and get everything actually textured like the jug and these woods and things like that. All right, everyone. So enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 22. Fixing Problematic Seams: Welcome back to everyone to Blender and Unreal engine becoming a dungeon prop artist, and this is where we left off. Now, let's have a look at these first, making sure I'm ppy with the measures. So first of all, I do want some little piece of mail that are going to go in here, which makes it look as though these are actually being held on by something. Let's press shift, and all we're going to do is just bring in a simple que, S, bring in a e, bring it up. Pull it out all I'm going to do is I'm just going to pull it out a little bit further, and then I'm going to press tab. I'm going to bring it down to there and then just bring it up just a little bit and probably just going to pull it out like so. All right. Maybe the bot wants to come down a little bit so that bits not poking through, like so, and then press L, just to grab it and I'm going to press shift and I'm just going to bring it down to the other part, something like that. I'm going to bring it up a little bit, and then just pull it into place. Maybe I can get away with bringing it a little bit further down, where you can see it just makes all the difference in how it actually looks. All right. That's looking really nice. Now, let's grab one of these and we'll bring it over to this side. So I'm going to come in shift D, do duplicate it, bring it over P selection, split it off, controle transforms. Right click. It's origins geometry. Now let's bring it over to this one. You can see way way too big of the mom, so we're just going to squish it down a little bit, so then just pull it into place. I'm going to rotate it, so y, rotate it round, pull it up, pull it in. I can see here that this bit here, I need to pull out. So you can see if I grab this, I need to pull this bit out. I'm going to press one, I'm going to press G, and then we can pull it out so. All right. Now, let's do the bottom. Again, I'll grab it shod D, bring it down, and then press one number pad and just rotate it. Y rotate it round, put it into a place where you want it. I'm thinking. Maybe wants to be around there. Yeah, something like that. I just put it out a little bit. There we go. That looks absolutely fine. Okay, now we can actually join all of these together, so, actually, I think the last thing I need to do is just bevel these a little bit actually. We'll do that first. We'll probably thinking these little parts don't really need beveling these parts here, do these really need beveling or I'm just going to look Yeah, probably do, actually. I'm going to grab them both at the same time, and I'll do them both at the same time. **** click, just going down each of them. I don't think I'll do the bottom. So what I want to make sure is that the beveling all at the same. So now for press control, B, pull it out, just a tiny, tiny bevel like they look tons bad like that. All right. So now let's come to these and we'll do the same thing. Slick slick around and then I'll come to this one and I'll press control B, and we'll just bevel off Now, let's split these up, so I'm going to press L t selection. And then I'm just going to join all of this up by grabbing it all pressing control, and then it's making sure shaded smooth. Everything shaded smooth, and it's all joined together, and there we go. Now, is there any part of this I'm app with? Yeah, probably this part here. I need to smooth this off at. I'm just going to grab this. I'm going to press one. What I'm going to do is first of all, I'm going to press G, Then just move it out a little bit, and then we'll do the same with this one. G, and there you go. We're straighten those up. They look nice again. Now, let's do the same thing with this, so we're going to press B, grab everything. Press control. Right click shades move, Autosve on, and finally, there we go. Now, that's those done. Now, all we need to do is bring in the materials. So basically, they're going to be wood. They're going to be a dark metal on the handles. I think all the way around actually would be dark metal, so we'll give that try. We've actually texted these I think apart from the jug. Let's start with the jug actually, so the jug would be made probably of silver. Let's come in and we'll make another material. So what I'll do is I'll bring back my materials like so. We'll grab this one. I'll press shift, and we'll also, I don't think we need another one yet, so we won't do that yet. So what we'll do is we'll minus it off. And then we'll go to our textures and we'll have this one here. We've got two, as you can see, silver basic silver treasures. Let's use this one here. This is the one we're going to use. I'll go back to it, plick and then we'll just copy this. Control C, and then new and then enter like so, and now let's c to this one first, over to our shading panel. Again, we'll copy these Control C. It's a shame that Blender doesn't have a setup with the ambient clusion but it doesn't. Control T, and let's bring in the silver. It's silver basic here. Again, we've got all of these. We don't want the direct x. We want the open GL, there we go. All right. That's the silver, and I'm just looking at what that actually looks like. Is it shiny enough? Maybe it is, maybe it's not. We can alter that anyway, and I'll show you how to do that now. First of all, though, let's plug in ambient occlusion, just the same as what we've done on every other one. So now let's see how dark we actually want it. We can also change this as well to change how dark it is. Th we'll bring. We're not get a lot of difference there. So we'll do on this one is just bring it down a little bit. Now, how do we change the metal? We want to keep this actual metallic map on there. Because if we take that off, although We can alter the metallic, as you can see. It's not very good because it's not actually based on a map. This map has a little bit of roughness and it has a lot of variation in the actual map, and we don't really want to actually alter that. I'm just going to plug this back in. Instead, what I'm going to do is I'll come to my roughness and that's the one I'll change. What I'll do is I'll press shift A. Again, we'll look for an RGB curves. And we'll drop that in place. Now you'll see that if I pull this down all the way down here, you've got a lot of control. Yet you still got all these little bumps and things like that. It looks as though there's a lot of actual grime on there. This is a really great way of actually altering your maps on the fly within blend and I'm just going to turn it up. Don't want it quite so shiny, but I do want it a little bit more shiny than what it was so can see that's looking about right now. All right, so I'm happy with that. Let's double tap the e. And let's come over and give these some materials. Well, I'm also, I think I'll see if I can actually unwrap this just straight away. Let's have a go. I'm going to because it is metal and with meal you can get away with a lot more. I'm just going to grab it. I'm going to press and Smart UV project. And then what I'm going to do is I'm going to come down, and I'm going to look for silver basic and I'm going to press tab, double tap the. There we go. That's absolutely fantastic. Let's put and there we go. Really, really nice. All right. So I'm just making sure that I'm happy with it. What I'm looking at is if it's got a line down here, sometimes that happens. So what I want to do, go to UV editing, make sure it looks good. I'm just looking at this line down here. What I want to do is just click on one of them. Yeah and you can see that they're not together. Sometimes that can happen. Let's just grab it all again and let's see if we can UV smart UV project. Yeah. I think that's actually we might be able to get away with that. I'm just looking around the other side, or we can mark a seam straight down the back. Probably going to have to do that. I'm going to press, hide this part. Also, when you hide it in your render view, it won't actually hide it. You have to go out of it. Then what I'm going to do is I'm going to come now and I'm going to get rid of this, and I'm also going to get rid of this. What I'm going to do is I'm going to mark a seam. And then I'm going to come with my face select. So I'm going to grab all of this, so L, and I'm going to grab all of the inside, as you can see there, all of the top, hide them out away. Should be left then with just this and now we can mark a seam straight down the back. If I press shift and click, right click, mark seam. Now you'll see when I undo this, L wrap now you'll see we've got no artifacts in there or anything like that, and it's unwrapped absolutely perfectly. We put it now on to render view. You'll see that that actually looks much better. I think actually this line down here is just coming from this here. I think that's what it is. Here it is. But you can see it looks a lot better. That's quite funny that we had it like that, but anyway, never mid. Let's put it onto your material mode and then what we'll do then on the next one is we'll actually get these a modes with their textures and materials on. All right, everyone, so I hope you enjoyed that. I'll save it out and I'll see on the next one. Thanks. Bye bye. Okay. 23. Building up our Asset Library: Every one to Blender and renge, becoming a dungeon prop artist, and this is where we left off. Now, let's come to our mugs and let's give these. I'm thinking I will take the handle. I'll just split them off. So I'll grab this and I can't really grab all that. So what I'm going to have to do is I'm going to have to mark some seams to make this a little bit easier for me. Old shift and clip. I'm also a thing. I'll grab all of this. I'll press shift H and then I won't do it that way. I'll do it, I'll grab the action shift h, hide everything out of the way, and now it can come in, and it's just going to make it a ton easier for me to mark those seams off like so I also one to mark sam on the bomb as well because all this around here is going to be actual metal, mark like so now. Let's see if connect with this now. If I come in and grab each of these, so smart UV project. Now let's give it the material that we need. We're going to come to material. It's going to be probably I'm looking. Let's try that one. You will give the whole thing the same material. Don't worry about that. We're now going to go in and I'll actually resell the transforms as well, just in case I think it did, but I'm not actually sure. And what we'll do now is I'll hide that out the way. So hide those, and we should be left with just this, and we might be able to get away with just unwrapping it. Smart you reject click. You can see if it was metal, be absolutely fine, but it's not. So what we need to do is click Plus and bring in the other material, which is the wood course. Let's click a sign and there we go. You can see that actually These parts here are absolutely fine. It's just the inside. We might actually and the bottom is even fine. It's just the inside of it. So all I'm going to do is just grab the inside control plus going all the way up. Maybe the edges, I need to fix the edges as a thing going up to here, and I'll try actually spinning this around now. 90 spin around. That looks pretty good. All I'm going to do now is, I think, I'll just try wrapping this the other way. Light my pack, holocive now let's squish it in, so Then S and y, bring it in. There you go. That is a really nice. I'm really happy with that. Now, let's do the next one. We'll do pretty much the same thing on this one. Again, we'll come in and we'll grab all of it on here, one is shift page and then I'll come in and mark my seam. Just the seams for the metal, just to make it a little bit easier for us. Shift click come underneath. Then finally, can I actually get under there? Might be able to under here. And mark seams. All right. Now, let's come in and first of all, we'll unwrap it, V U V project, and then we'll press lth. And then what I'm going to do is I'm going to bring in the metal, dark metal, and now we'll come in and grab the rest of it. So if I come in now, press L, L L and L, I think it's going to be the same sort of thing. L under there as well. As what we had with the other one, click plus little down arrow wood course, a sine, pretty much the same. All right. So the inside. Let's do the inside first. So we'll grab that control plus all the way up to here. And then what I'll do is I will spin these round. So eight 90, spin them round and now finally jaws top and we'll do exactly the same thing. I'm going to grab it going all the way round the lip There we go. I'm just looking at this part here. That not particularly happy with. So I'm going to actually see if I can wrap Those parts separately, so I'm going to come in, grab this, we're just going to press. Smart UV project, spin it round, so 90. There we go. That's much bad. I'm happier with that. I'm not happy with how that's come in there. I'm going to make it a little bit smaller. Yeah. That's fine. Now let's look at this side. We're going to do exactly the same thing now on here. I'm going to press. Smart UV project, and A S. Let just make it smaller. So that tons fair now finally on this bit, M pack then follow quads, A, make it smaller, G, and then S and y and bring it in like so. All right. There we go. Now, if you're not happy with the overall how they look, you can just grab now take just to bring everything back, A to grab everything. A, now what you can do is you can just make it either smaller or make them bigger And there you go, you can see, they actually look probably better like that. I'm actually looking at the wood, maybe on this bowl as well. So what I'm going to do is grab everything, and I've actually done the same thing as what I've done over there, so they should be absolutely fine now. They look really, really nice as you can see. All right. I'm happy with that. Now what we need to do is we need to go back to modeling. We need to come and find our mugs. I'm going to grab dot. And what I'm going to do now is just finalize and just make sure that they've all got I think with the yeah, I'll leave that as it is. I'll just grab them all. I'm going to press control all transforms, right click. So regions geometry. And what that does is it will set the geometry to all of them at the same time. So that's really, really handy to know. I'm going to hide that the way. And now I'm going to do is I'm going to come in and name them. So I'm going to come to my plate, like so, and then I'm going to come to my bowl. Really important that you do this. You could do it all at the end, but it's a real pain when you have to do so many at the same time. So I tend to nowadays, as I'm actually working, just go through them and do them as finishing them because then I can also put them in my asset manager. We'll call this should we call it. We'll call it a large and then we'll call this one small. Now, let's make a new collection. So I'm going to right click and we'll call it new. And then I'm going to go two. Where is it? There it is. I don't know why I put it in there actually, but it shouldn't have done. I'm just going to move this up to the top in its own look as you can see, then I'll call this moms and plates. Okay. And then what I'll do is I'll grab them all now, so B to grab them all, and then I'll press dot. And what they'll do is I'll take me straight to where they all. I can just grab any one of them then and just drop them in and then they'll all be in there. The other thing I can do is as well now, grab the all right click and mark as asset, and I'll mark them all as an asset. Now, let's close that and just see what we've got now. I'm also going to click file and save. And what I'm also going to do is, I'm just going to stack them in a little bit of a nicer way. Like so. All right. So now what we can do is we can come to our asset manager. And then what we can do is can come to all, and I can grab all of those. I know which ones they are because I've just done them, so might as well do this at the same time. Spoon looks a bit funky, and let's put it into where is it props, like so. Let's look at our props, and there they all are. And now, finally, leads also. We've got these materials. We need a couple more materials in here. Did I mark those as assets. So let's have a look at my materials. Just going to bring back my materials. So let's have a look at which one silver markers asset, wood course, markers asset. I think they are the two I'm missing. Now I've got them on here, silver and wood course. Now I can drop those into our material. All right. So parts props, materials, hold. Now finally, we can go and save it out and we can also go back to our modeling, and I can now put these in place. Again, I'll light out my materials. You can see now you can already start putting these onto your table and things like that. All right, so they'll look really nice. Now, the next one then we're going to move on to I bring over my reference will be our gobblet our plates, our gems and things like that. Because it will be a nice transition to those because we've already created pretty much all of the skills that we need. Apart from we're going to be using different materials and things like that. After that, then I think we'll probably move on to the books, so we'll get those out of the way. The cans are a little bit more difficult. But you can see already that you should be speeding up your way flow by now, and you should be able to now create pretty basic measures really, really fast. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 24. Using Trim Sheets Effectively: Okay. Welcome back to everyone to Blender and oral Engine becoming a dungeon artist and this is where we left off. Now, before we continue, we need to bring in a few more actual materials. So what we're going to do is I'm going to grab this cube here and I'm going to duplicate it. Shift duplicate again, shift and duplicate once more. There we go. All right. We might need one more actually. We'll just see. Now, the first one I want to bring in is my actual gemstone color. So we've got three here. We've actually got let's have one, two, three, four gemstone. One, two, three, four, shift D. Then what we're going to need is two gold. One of them being a trim sheet, which we will discuss shortly. So what I'm going to do is, I'm just going to grab two of these. I want to press shifty again. I'm going to bring them out, like so. All right. Now, let's come to this one and this will be the first one we do. Let's have a look at our actual download pack, so come to my download pack. Which is this one here and we'll go to the textures. The ones we're looking for are these here. Dungeon gem blue, dungeon gem red, and all the way down, and then we've got dungeon gold. Finally, we have one that's called Don gold decals and this one being the trim sheet. Let's bring in the trim sheet first. What I'll do is I'll come to this one here. I'll minus this off and I'll create a new one and we'll call it gold trim sheet. Like so. And then what we're going to do is we're going to go into the shading panel. Now, the first thing I'm going to do because this is gold, it doesn't really actually need the ambient occlusion on it. Let's come in and grab the principle, control shift and t, and then let's bring it in. I'm just going to come two, this one here where it says trim sheet. And then what I'll do is I'll show you this in detail what it actually is. Let's double click it and let's go and grab all these ones here. So I'm going to grab the open GL and the bottom one here, and I'm not going to bother with the ammt occlusion in this one. I'm going to click principle textures. And then one going to do is, I'm going to put this onto my cycles render engine, and you should end up with something like this. It looks kind of weird. Now, I'll explain what this is. So if we go over, to our UV editor, open it up and we'll see that this is the actual basic trim sheet. Basically just the texture is on the no metallic like that. Now, what you can see is that we've got a pattern going across, a pattern underneath. You can also see that we've got a pattern going across here and a pattern down the bottom. Basically what these are is, these are similar only in a horizontal way. What you can do is you can take your mesh and you can basically use it as a trim sheet where we actually line this up on the top of the gobbler and basically have it wrapped around it. That is how they're supposed to work with trim sheet. Now with trim sheets, you can actually get away with having three, four materials going all the way down, and it's just that it's only seamless going this way. That's why they're called trim sheets. Now, you have another texture which is called atlases. A Atlass basically are a UV, which is broke up into let's say six squares or something like that, and you basically take your mesh UVs and put it over whichever square that you want to. Okay, now we've discussed that. Let's actually go back to modeling. Sorry, shading, and what we'll do is we'll bring in articles. Now I'll bring in the normal gold as well. If I grab this one here, I'm going to minus this off new. Let's call it gold. Again, I'm not going to bring in my ambient occlusion. So I'm going to go down and I'm looking for is dungeon gold, and then I'm going to bring these in bring in my principal and there we go. So that's our gold. We can see it's got just about the right amount of roughness and metallic on it. You can see that it's not too shiny and it actually looks like gold. All right. So now let's come to the next one and the next four we're going to bring in basically going to be our rubies and gems and things like that. Let's come to the first one. I'm going to I'll actually minus this off, press new and we'll call it M Stone red. I'm just going to call them all gemstone just so we don't get confused. Gemstone red. Let's again, come to our principled control shifty. And then what we're going to do is going to go back and I'm looking for the one that says, dungeon, gemstone, red, like so. And we have got an opacity in here same as the goal, but this opacity, we can actually use. If I come in and I select all of these, like so, click on my principle, and there we go. Now, we can, as I say, use this capacity. Let's just hide these two out of the way just so you can see what I'm actually doing. At the moment, you will see that we can't actually see through this. It's just the reflection. Let's also bring back on our floor. We're going to bring back on our floor, where's my floor, let's come down. Okay. So I've got on old. It's a real plane. There we go. I'm just going to hide those two out the way. And now we should be left with something like this. And let's then just click on our red gem. And now, all I want to do to actually make this slightly see through is, I'm just going to grab both of these. I'm going to move them over to the right hand side. I'm going to come in now, so shift A, and we're going to come down and search for RGB curves. So just point curves. And then you'll have one that says RGB curves. And it is a really, really great no to use on lots and lots of different things. But now, if I come in and I grab the middle of this and pull it down all the way down here, you will see that a press is actually see through. Now, of course, this is a gemstone, so we don't actually want it to be so see through. We just want it to be slightly through. So I bring it up. You can just bring it down now and just make sure that it's. You can see that it's probably still a little bit too much. We don't actually want it that C through. So I'm going to put it here and I'm going to bring it up very, very slightly. So maybe a little bit more and that should be absolutely fine. And that looks more natural, as you can see for a gemstone or something like that. All right, so that's that one. Now, what I need to do is I need to actually keep this. I'm going to press control C and just copy it. And then what I'm going to do is I'm going to now bring in my blue one. So I'll come here and I'll call this gemstone blue. So new Gemstone Blue. And then what I'll do is I'll come to my principle. Click on my principle. Control shift, and then let's come in and we're looking at gemstone blue. We've got a white and yellow. I'm just going to remember that as well. Gemstone blue. Let's bring in all of these, the open GL, the roughness, like so. Let's bring them in. There's my blue one. Let's pull this over, so now let's sort out the opacity. Control V, drop my curve in, and we should be able to get a little bit of C through. I'm just looking there. It's not quite as much as this one. Let's look if I bring this one down. That's maybe way too much, maybe down a little bit more. I think the colors actually, there we go. Something like that, I think looks absolutely fine. Now we should have white and we should have yellow. If I grab in fact, if I press altage because we've got those cubes here, so we'll have gemstone white. I'm going to minus this one off, new gemstone white and then we'll have this one and I'll also do this one at the same time. So new we'll call this gemstone yellow, like so. We've also got another one which is going to be let's have so we've got gold red. Actually, that is all of them. So we've got two golds there and our gemstones. All right. Let's come to this gemstone first, this is the gemstone white grammar principle. Control Shift T, and let's find the white one, which is this one here. We're just going to control click all of these ones. Grabbing them, and then all I'm going to do is, I'm just going to move that normal over there. Control V and just drop this one in and then just going to go down and have a look at this, and we can see that that's really nice and see through. So it's to do with the color how see through it actually is. All right. So now let's come to this one here, and this is the gemstone yellow. Exactly the same thing. Control shift. And you can see actually doing them in a row like this, actually makes it much, much quicker. So this is the yellow one. Clicking on all of these like so, and then just moving them over there, pressing Control V and ringing the curving. Let's how much we've got on there. Maybe we need to bring this one down to tap. Yeah, that should be enough there and s make through there. All right, double tap the eight and there we go. Now, let's add these two our actual asset manager. So we'll come in. We'll grab this one Markers asset Markers asset Marks asset just keep going down there, marking them as asset. I'd like to keep up to date with these, and that's why I'm actually doing this. And then what I'll do is I'll come to my asset manager and we'll go to all. Then we've got all of these gemstones now so you can see. All of these gemstones, I think I'm missing one. One, two, three, four, five, six. No, not. That's all of them. Except that one graft. All right, let's put them into our materials, and there we go, there's all our materials now. There's all of our props, and that's actually done. All right, everyone. On the next one, what we'll do is we'll start, I think on the actual plate. That's the easiest part to start. We have just a silver plate, and then we'll create the gemstones and finally moving on to the actual goblet with the trim sheet. I'm just going to go up and say Okay. And I'll see you on the next and everyone. Thanks a lot. Bye bye. 25. Good Techniques to Create Gemstones: Welcome back if you want to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. Now, let's go back to modeling. Let's also hide out materials. So J going to hide all those out. Then one we're going to do is Jo going to come here. Let's create the plate first, so I'm just going to create a let's have a look simple cylinder. I think cylinder is not coming in and the reason it's not come in bad way if you have something like that is because it's actually coming in here. So if I come down, you'll see that if I unhide this, you can see my cylinders there. And the other reason is because I am actually in edit mode, and I just didn't realize. All I'm going to do is I going to press control Ed, I'm going to then press tab, I'm going to then hide this out of the way, and hopefully now when I bring in my new cylinder, ship let's bring in a cylinder. It should come in and it's come into mugs and plates, which is absolutely fine. Now, one problem we have with this under is it's on 32 vertices. We just want it on 16 s, and then I'm going to make it smaller. Now what I tend to do when I create plates and things like that is, I mean, I know this is a silver plate. I'm just going to make it a little bit bit bigger. I just press tab, grab the top of it, press D and just split it away from the rest of it. Then all I do is go in L vertices and you should be left with something like this. I like working like that. It just makes it a little bit easier for me. All right, so now I'm going to do is I'm going to press S, and I'm just going to bring it out like, pull it up. Okay. And then I'm going to delete this face, so delete and faces. And there you go, you see, should end up with something like that. Now, I'm just going to go around the edge and create that edge on there, so I'm going to grab it. I'm going to press enter S, bring it out. There we go. Now, let's create some kind of artifacts on here, some bits that are a little bit out. So all I'm going to do is I'm going to grab, let's say this bit on here, so Control click, right click and then control B and just pull it out, so we've got a nice bevel on there. And then all I'm going to do. I'm not actually going to do it yet. I'm going to pull it out in long run because I need to give this some thickness first. The other thing I'm going to do as well is I'm going to give one on the inside. So I'm going to press, bring it all the way in, then I'm going to press control, and just bring in a few edge loops like so. Left click, right click and then we're going to come to this one shift click and then control P. So they are the ones where I'm going to pull them out, something like that. All right. Now, we could use the solidified modifier, but we could also just grab it and just press and pull it down to give it some thickness. Now, it doesn't need to be very thick. It is actually a silver plate after all. So I think that'll actually do. We don't actually need to mess around with the modifier. Now, let's come in and grab the outside. I'm going to press shift and click. I'm just going to press then and just pull it up like so, and then we're going to come to this one, l shift click and just press and pull it up like so, and you should end up with something like that, and that looks pretty nice. Now, we could really make this a little bit intricate. But I think at this stage in the course, we should just focus on those modeling skills. All right, so let's press control A. Let's reset all the transforms, clicks origin to geometry, and there we go. Let's move that to the side. Next one, let's create a actual let's create a diamond. Let's press shift A. I'm going to bring in Let's have a what we're bringing in. Let's bring in I think we can get away. Can I get away with bringing in a cylinder. I think we'll bring in a cylinder. We'll turn it down to something like nine. Let's have a look at that. Yeah, I think actually that should do it. For bring in a cylinder of nine edges, I think that'll be enough. Now what I'm going to do is I'm going, of course, make it smaller. And then what I'm going to do now is I'm going to come down the bottom, grab the bottom of it. I'm going to press S, bring it in, like so. And then what I'm going to do now is I'm going to grab the top. I'm going to press. And bring it in and then S, so you can see really, really easy to actually make one. Now, the other thing about this is we should really put some actual levels on this because that then accentuate how much this actual shine gives off. I'm just going to pull it up a little bit more and bring it in a little bit more and just make it a little bit more damonlight I'm going to press control a transforms right, Sergenmetry. The other thing I'm going to do is I'm actually going to put on my cavities. I'm going to go onto object. I'm just going to make sure it's on. Yes, it is. All right. So now what I'm going to do is come to my modifier, adding a bevel I'm probably going to turn this down to not 0.3 It's have a little bit of that. Yeah, and I think that looks really, really nice. The other thing with the diamond is I do want to make it a little bit smaller. But when I'm actually making it smaller, I don't tend to make it smaller in this part of it and the reason is because I want to be able to see them. If I make them really dingy, the size of diamonds or something, you're never going to see them. So I just tend to make them just a slightly a bit smaller like so. All right. So that's the actual diamond. Now, let's make let's make a sapphire, a blue sapphire, something like that. What I'll do is I'll make it a double sided sapphire with maybe get away with a few more edges on it. Let's press Shift A. Let's bring in another cylinder. Then let's turn up this to let's say 11, something like that. Let's squish it in, like so. Then all we'll do is we'll make this double sided. I'm going to come in. I'm going to grab the top and the bottom. I'm going to press and the sensed and pull them out. If they don't pull out, just make sure that you've got them on medium point. Es pull them out and then make sure that you've got them on individual origins, and then you'd just be able to push them in there we go. All right. I'm happy with how that looks. Maybe should we actually bevel off this. I'm just going to try beveling off each of these with control B. I just want to see what it actually looks like. Yeah, I don't think I like it. I think I like it a bit more hard edge. All right. I'm happy with that. Let's press control ao transform drylix origins geometry, adding a modifier, bring in a bevel and let's bring it down to 0.3, like so. All right, so that is my sapphire. Or whatever you want to call it basically. It's just a piece of treasure and that's what we're trying to create here. Let's put that there. Now, let's create a opal. We're going to create an opal next. With an opal, I'm going to probably start with a cube actually. Shift A. Let's bring in a cube. Let's make it a little bit smaller. Then all I'm going to do is I'm going to level the sides of it like if I grab the edges here. Like so and then just press control B and just level them like that, and then we'll just pull out these edges here, so I'm going to press, er, make sure I'm on medium point, SNx, pull them out. And then I'll come in and actually bevel those off, I think. Or we could bring them in and up to you. Let's press shift click on both of these, press control B and just bevel them in, like so. Yeah, I think actually that looks absolutely fine. Just going to rotate this one a little bit. I think we can see it better like so. Yeah, and that actually looks like an pus I'm pretty happy with that. All right. With this one, do you want to bevel it off? Let's press control A, A transforms origin geometry, bevel it off. 0.3. Yeah, and I think it looks better like that. Let's bring it over then to the rest of our treasure, seven. Let's press S, bring it down and put it into place. I should be putting them really on the actual ground plane. So I'm just going to take a little bit of extra time on the ground plane like so, and the plate like so. Now, let's come to well, I've got a goblet, so let's actually start the goblet, and then we can move on to the necklace. If I press Shift A, let's bring in a cylinder again and I'm going to put this cylinder, let's say on something like 16. I'm going to bring it down with S. I'm going to press one. And then what I'm going to do is I'm going to pull it up like so. I'm going to grab the bottom of it because I do want it coming in just very slightly. S bring it down like so, and now I want it to come in. But actually, I want a nice slant when it comes in. So all I'm going to do is I'm going to press. And then I'm going to press and pull it nearly down to the actual floor. Something like that, and I'm going to worry about actually shaping this in a minute. First of all, I'm going to come in, and I'm going to grab all of these edges. Now the thing is if I bevel this off now, we know that it won't bevel off properly because we've not reset the transforms, so I'm going to press tab, controlle transforms, right, plate origin geometry, and now I'm going to actually level it off and you can see it levels off much better. I'm actually probably going to turn up the amount of segments on here as well, something like that. I'm also going to just lift it all just a little bit. Now what I'm also going to do is I'm going to actually level off the inside of here because it's too sharp. I'm going to press control B, like so, and now you can see again that nice slope. Last of all, then I need to do the stem of the actual goblet, so I'm going to come in Control. Let's bring in three edge loops, left click, right click, and then just make sure portion that is on, press the S boon and then bring in these parts here, like so you can just see how nice and smooth that actually is. Might take you a few attempts to actually get there, but you can see how easy it is to do that. Now, let's think about the bottom. So I'm going to grab the bottom so I'm going to pull it down with. And then what I'm going to do is I'm going to call, make sure I'm on face leg shift click. I'm going to press enter, and then alter an S without proportion of ing. And S, and what they'll do is it'll pull it out straight for me so. Just make sure that it's not too big on my original I think I made it probably a little bit too big, maybe a little bit bigger, something like that. Now what we can do is we can come and we can bring the sorry, the sides up here and just bevel it off, l shift click control B and let's see if we can actually bevel it off. So Yeah. I think I'm actually much happier with this one, how it actually looks. It just looks a lot better. The one thing I'm concerned about is maybe just maybe I've made this a little bit too thick, and I should be bringing it down. I'll fix that actually. So what I'll do is I'll come in. I'll grab the center of here, press control plus. And then what I'll do is I'll jaws bring it up. Control plus, bring it up. And then control plus control plus control plus, and then I can bring that down into place. Let's press one, bring it down into place. And there we go. Yeah. Thing that just looks a tumba. Now, the one thing that we need to do is we need to give this somewhere thickness. I'm going to come in and I'm going to a grab the center. I'm going to grab the center actually. So the center of here, shift click and then grab the top of Presslet and faces, and there we go. Now, the reason I've done that is, of course, that I need to give this some thickness and to give it some thickness, I need it to be basically a plane. I want it to be two dimensional, which it is now, and then we're going to create a three dimensional piece. All right, one, but we'll do that on the next one. So I hope you enjoy it, and I'll see on the next one. Thanks a lot. Bye bye. 26. Working with Array & Empties: Welcome back to everyone to Blender and real engine becoming a dungeon prop artist, and this is where we left off. Now, let's crack right on. We've actually turning this into a three dimensional using our solidify modifier. Let's press Control. All transforms rightly. Origin is geometry, come down, solidify. And there we go. That should be absolutely fine. Do we need more thickness. Let's bring it up and see. Yeah, I mean, it's made of gold, it's supposed to be chunky thing, actually, we'll give it a little bit more thickness. I'm just looking in the inside, making sure that's okay. I think actually probably with the inside, I'll delete most of it out the way anyway. All right. Let's press control. Let's put even thickness on first. Then press control just to apply that now let's get rid of the inside up here. All I'm going to do to get rid of the inside is. I'm just going to press tab. I'm going to grab the sides of here so you can see a great growing all the way around there. Then for press control plus, we can see that we want it going all the way up to ear. So now it compresses delete and basis, and you'll see your left with that and we're left with this on the inside. Can you see how that's broken away, which is perfect for us. Now if I come in, shift and click. I'll show you another way actually filling this in. All you need to do is press and that will fill it in, so it's not an actual lane gone, so it is actually a nice piece of mesh. We can do the same thing on the bottom as well. Shift click, fill it in. There we go. Last of all, then now we've got this. I just want to have a nice groove going around here. I'm going to press tab control, bring it up. And then control B, pull it out. I'm going to turn down the number of segments just so I've got one. I want to press to terns bring that out then. You can see because I pressed alters again, it's perfectly straight, and now that's looking pretty nice. All right. That's that one. Now, let's think about creating our actual necklace. I'm going to show you an easy way actually doing that. I'm just going to grab these, put them to the side. I'm going to first of all, create my gemstone. I'm going to press Shift A, like so. Bring it down and I'm going to pull it this way. So I'm not going to worry about the scale at the moment. All I'm going to do is just create a gemstone, something that looks like a gemstone. I'm going to press control A or transforms, right click. Origin geometry. Now, it's very important that we've actually pulled this from here down to here. It's also very important that I now set the orientation of this to the center. So I'm going to right click, set origin to three D cursor. If the three D curse is not in the center, Shift S cursor to world origin, and then you can reset it. All right. Now let's work on this. What I'm going to do is I'm going to press S and SD, and then I'm going to come in, grabbing each of these, like so. I'm going to press Control B, pull them down. Finally, then I'm going to grab each of the sides, press control B and pull them out and just give us some kind of looking gemstone. All right, I'm happy with that. Now what I want to do is, I want to rotate these around. So basically, to give me that look of an actual gemstone. So the easiest way I've p to do it is just simply to bring in a empty. So you can see here it says empty, bring in a plain axis. Now an empty is basically something where you can use it to actually do animations or you can do things like what we're doing here, using it to actually create arrays and things like that. What an empty is is basically it's a piece of mesh that will never be shown in the render, so you'll never see this actual piece of mesh. That's why it's called natural empty. Similar to the empties, when we delete in vertices instead of faces. It's similar to that apart from it's actually used for a purpose. All right. With that said, let's now come back to GM stone and we're just going to again reset everything because I did change the shape of it, so all transforms, and then right click our gin to three D C. So make sure it's in the censor again, and now find that we can come in come to our array, and now this array basically, as you can see, we can array things all the way along in a row. It just makes a copy of it. But the best thing about the array is it makes a copy in a certain distance. You can see now we can array something and the same distance is between each of these, and you can go on for infinity base as many as you want. Now, we don't want to actually use this like this. We want to use it a different way. So what we want to do is put in object offset. We want to actually turn this off. Then what we want to do is want to pick our object as our actual empty, like so. Now, when I spin this empty round now, you will see, sad, you'll see that we can actually spin these round now and get them all the way back into place. So you can see that I've spun it round 44.8. Now, if I spin this round by 45 degrees, And now you can see that they're perfectly level with this one. Actually, I'm not sure if they are. Yeah, I think they are. I think it's just my eyes. You can see that these, these are level and these are level. Now the thing is we do want a few more in here. We won't want in between here because we are making this into an actual necklace. What I'll do is I'll come back to ma, and I'll turn it up. Let's say, let's try something like 14 instead. Now, when we do that, it won't actually make more in that way. So now we have to come back and now we can see that we can actually bring more in. We have to work out how these level up. You can see I brought that all the way back now and level them up and if I put this now on 25 degrees instead, you can see that's not going to work, let's bring it slowly holding the shift button, just trying to level them up. In some way. I'm using basically this one here because this is along that straight line. I can see it's 25.8. Probably the best thing I should do here is divide where is it? Divide my array by 14. If I just open up my calculator, Okay. And what we'll do is 360/14 equals 25.714. You can see probably not the best idea, 0.14. So let's just try 15, 360/15. Let's see where we get 24. Let's actually do it at 15. So we'll put this up one, and then what we'll do is we'll come back to our empty here. Okay. And I'm just going to check back again because I didn't check where it was. 360/15 equals 24. All right, 24 degrees, and now set this to 24 and there you go. Now it's perfectly perfectly level. Now you need to do is you need to just come in to ray again, press control lay and then finally we can get rid of our empty. Now, finally, all I want to do is, I just want to now bring down this bottom bit, so I'm going to come in. I'm going to press control plus on it, and I'm just going to pull this down like so. And then I'm probably going to pull the tops of it out. So if I press control, left, bring it out, like, so and I just want to make this a little bit different. All I'm going to do is just grab the top so I'm going to put my proportional editing on. But what I'm going to do is I'm going to make sure it's only unconnected only. If I don't put that on, you'll see that I'm going to change all of these and I don't really want that. I just want to make sure that it's unconnected only, and then I can pull it out a little bit like so, and there we go. All right. That's looking pretty nice. Now, I think I'm going to pull this up and then extrude it out and make it a little bit, probably a little bit thinner down to the bottom. I'm going to come in, Control two left click right click and now let's come down to the bottom. Grab that bar. Control plus and then press S, make it a little bit thinner and there you go. I think that looks much much better. All right. So we've got this. Now what we need is we need an actual chain that goes around. So I've got my cursor in the center. So all I'm going to do is I'm going to press shift A. I'm going to bring in. Let's bring in actually a circle. So we can bring in a circle if I press seven. Now the thing is about circles. Again, you can turn down the amount of vertices, so you can play around with this. Let's put it on something like 20. I think that's going to be fine. And then all I'm going to do is I'm going to bring it in to the halfway point like that, and you can see already that looks pretty nice. The thing is with the circle, you will say that, well, we can't actually do anything with it because it's got no actual mesh. But hey, that's where you're wrong. All you need to do is you need to go to object. You need to come down to convert and just convert it, sorry, convert it to a curve. Now you'll notice that we've got a curve on the right hand side. Now, the best thing is with that, just so you know is you can actually convert any piece of mesh into a curve. In other words, if I bring in a plane and I press tab, I just a quick show here. Don't do what I'm doing. Just follow along, shifty pull it out and then get rid of the rest of the plane. You can see that I've got this piece. Then what I'm going to do is, I'm just going to give it a few subdivisions, right click, subdivide, we've got four in there now, as you can see, and now I'm going to do is, I'm going to turn this into A curve. Now, if I come over to my curve modifier and I go down to my depth, we've actually got an actual curve a piece of mesh, and we can actually move it around and things like that. Really really amazing that you can actually do that from any part of mesh because you can actually create a piece of mesh and then turn it straight into a curve. Really really handy to know. All right, I'm going to delete that. I'm going to come back to this one now. I'm going to turn the actual depth. Turn the depth just a little bit, making it into an actual necklace. Now the thing is with the depth, you can turn down the resolution. So if I turn this down, let's say to three, you will see. Now, that it's only got three sides or zero sides or whatever it wants to be. Let's just turn it on one because the thing is we're not going to need a lot of resolution from here. Now, when you bring in a piece of mesh like this, normally, I can't turn down the resolution because you've already created it, so this actually has no effect. Finally, then all we need to do is need to come to Object, convert and just then convert it back to a actual mesh. There we go. That's that actual finish. Now, let's join all of this together. I'm going to join all of this with Control J. Press the G button, press the S button, like so, and there is our necklace. Now, one more problem with our neck places, it really needs to look like a necklace. So all I'm going to do is I'm just going to grab the top up here. I'm going to come in with my proportional editing. I'm going to make sure it's not unconnected only because I want to bring it all in. And then what I'm going to do is I'm going to press S and X, and just bring it in. Then I'll just grab both of these, and I'll just pull them in or out. So now you can see it looks a lot more like a necklace. Albeit a little bit big, so I'm going to make it a little bit smaller. Then there are our actual gemstones, our goblet, our silver plate. And on the next lesson, then what we can do is we can actually bring in our materials onto these. All right, everyone, hope enjoyed that and I'll see on the next one. Thanks. Bye bye. 27. Finalizing the Details for the Goblets: Welcome back to everyone to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. Now, I'm going to do all these together, actually. So the first thing I'm going to do is just check my normals. I'm going to come down to face orientation. Check my normals, and they're all fine. So I'm going to turn that off. And then what I'm going to do now is, I'm just going to well, actually, we can't actually do them all together. What I'm going to do is, I'm just going to grab them all. And I'm going to see if I can shades move and you can see that. Yeah, actually I have shade them all smooth, but can I actually do them all together. I can't actually do them together as you can see, so I just need to calm down each one of them and just. With the diamonds and things, I'm actually wondering if I should just be shading them flat. And I think actually probably going to be better off just shading them flat or turning up the automve whichever one you want to do. I think they're just going to shine more light if they're like that so I'm actually going to go in shade flat and I think these are the only ones that we're actually going to do that with. So shade flat like so. All right. Now with the goblet, I just want to make sure same as maybe with this plate as well, that I just level off these edges just slightly because it's still goblet. Let's come in, grab the edges. Old shift and click Control B, hold in the shift but slow it down and just level those off. Now I'll come in and also level these off. Control B bevel them off. Now, what you could also do with one of the goblets, you could also make some rubies or something like that and bring it out. We could also do that. I think actually, we'll do that. It won't actually take long. So what we'll do is we'll press, we'll bring it over. Then what we'll do is we'll just think about bringing this down, so I'm going to come in and I'm going to press shifting click. So great going all the way around. Old shifting click, trying to go the other way. So old shifting click, and then just pull it down a little bit without proportional entity on. And then what we'll do is we'll grab every other one. So you can grab every one by going Old shift click. Select, check a D, select, and there we go. Now the thing is I'm going to press now and just bring them in, and you can see already where we're going with this. Now, if you press, enter and then alternS, you should be able to bring them out like so, and then let's make them smaller. Now just make sure that individual origins is on. Press the S button like so, and there we go. Now we need to do is just level this off a little bit. Control B, level them off. There we go, a goblet with actual rubies on it, really nice. Now, let's come in and actually think about let's just go down. Let's reset all our transforms just before we actually unwrap them. Control A transforms, click origin to geometry. Let's come in and adding textures now, and then what we'll do is we'll name them. With this one here, let's go to our V UV editing. What we'll do is we've got our gold on here. I'm not going to worry about that because you don't really need to see that in here. But what I'm going to do on this one is, of course, bring in our silver. So we've got let's have a look silver basic. Let's bring in our silver. You can see already, it's not looking too great. So I'm going to do is I'm going to grab the whole thing. I'm going to press you and raprap as you can see, and the reason is because we've got no seams, so let's press. Smart UV project, and let's have a look what that actually looks like. That looks pretty nice. I'm pretty happy with that. The one thing I'm thinking is, I could make this a little bit more stylized for the actual plate by turning down my normal and also making it a little bit shiny because at the moment, it looks like the jug and it would be two different really materials. Let's actually change that. What I'll do is, I'm actually going to as well. I know it's making it a little bit harder for us, but I think it's worth doing. I'm just going to bring back all of these cubes, and I'm going to grab my silver, which is this one here. I'm going to press Shift D, just duplicate and pret there. And then what I'm going to do now is I'm going to copy this. I'm going to come to this little down arrow, copy material. And then what we're going to do is paste material. Now I'll minus this up, and then I'll click the down arrow. I'm going to click paste material. You'll see that doesn't work, so I need to click new and then paste material, paste material. And then what we'll do is we'll call this silver treasure and then we've got two types of silver. Now, let's come in making sure I'm on my render. Then I'm just going to zoom into it and I also want to be on shading panel. I'll have to zoom into it again, and I'll also there we go, zoom in. Then what I'll do now is I'll take down this normal map to let's say 0.2, now you can see it's a lot more smooth. Then what I'll do is I'll bring in an RGB curves for my actual roughness. You can see my roughness is already there. We've already got an RGB curves, so that's great. Now if I bring this down, so let's bring this down, you can see now that that's looking a lot more like silver, maybe a little bit too much, so let's bring it up a little bit. Maybe up a little bit more. There we go. Now that's looking much much better because silver wood actually looked like that. All right. I'm also thinking of, should I change the color of it as well? We could also change the color with a color ramp or something. Let's bring another RGP I'm just going to press shift. Drop that in there. Yeah, I'm thinking I'll probably make it lucky if we bring this up, so I'll bring it up. Yeah, I'm probably going to make it just a little bit darker as well. Something like that. That tab I'm thinking that's looking much much better. All right, I'm happy with that, and now we've got Silver treasure I'm going to right click marks asset. Come to my asset manager. Try and keep up with all these, by the way, because if not, you're going to end up with a low we don't know if they're in there or not. We can see silver treasure. Let's put it in our materials, and then we're done. All we need to do now if I come to my materials, spell that wrong. Let's spell it right. I don't know why I did that. Let's also save it out, save and now let's drop. Okay. On our silver. Silver treasure. Let's drop it on there. Not sure if that dropped on. There we go. What does that say? Only supported in object mode. Okay. Let's put on material and see if that does it? Only supporting an object mode. I don't know what that actually means. Oh, maybe I'm in edit mode. Yeah. I think I'm in actual it mode. Yeah, there we go. Let's grab it like that. Let's go back to modeling. And let's come to our material and click the down arrow. We're looking for silver treasure and there we go. All right. So that's looking much much better now. It's really getting the light and things like that. Maybe maybe it's a little bit too dark. I'm going to have to go back to my shading panel. I'm just going to lower it down a little bit. I think it's a little bit. I think it needs to be just lighter. Yeah, I think we should have gone the other way. All right. Let's go back to modeling, look, Yeah. That looks better. All right. I'm happy with that now. Now, let's climb to our rubies then. So what I'll do is I'll come to this one. This one is the yellow one. So I'm going to go down and gemstone yellow. There we go. That's looking pretty nice already. Let's come to T one is the white one, the down arrow, and we're going to go to Gemstone white, and then the down arrow and this one will be the blue one, Gemstone blue. Now, let's come to this here. First of all, we'll grab all of these gems. Basically, as well, don't forget I didn't actually wrap these. I'm going to actually probably unwrap them all together. Let's just grab them. I think actually because of the color, not really going any real markings or anything, I should just be able to go UV Smart UVon rap, and there we go now. It looks like we've got many many facets on those, and I think actually that's going to be fine. I don't think actually I need to do anything else with them. Let's do. Have a look at this. It's looking a bit grainy and I think looking to see if my noise is still on. Yeah, actually, they look pretty nice. All right. Let's come to this one here, and what we'll do is we'll unwrap it first. So I'm going to grab A. I'm going to pressure, Smart UV project. Click Okay. And now let's first of all, bring in our gemstone red, and then we'll click the plus, and we're also going to bring in our silver silver treasure. Now, the silver treasure wants to be, L grab it all. Silver treasure, click a sign, and there we go. Let's actually hide this floor out the way. I'm going to hide all of my materials. There you go. Really, really cool. You can see it looks really nice. We've done that so far. Now, let's come to our actual goblets. Now, with the goblets, we are actually going to need to mark some seams on because we're using a trim sheet. Let's actually think about doing that now. Seams going to be shift click. Let's even get away with marking a seam here. Let's even get away with also bringing it probably down to here because we're going to have one thing going around here. I'm going to right click Mark seam. Then we're also going to have one on the bottom of here. I'm going to shift and click and shift click. Okay. And you can see that. That's one of the other things, by the way. If you have let's say some triangles in here, you won't be able to grab it all along. The best way to do it is just to grab an edge. Control click, control click, control click, and you just have to be careful that you just make sure that you don't go like I've just done there past here. So you can see here sometimes it doesn't always work, but it's still quicker with control click. Soros control clicking all the way along. Just to get back to here. Right mark sam. All right. There we go. Now, we just need to make sure that we're marking our seams on the top now, shifting click. Alt Shift click and also on the bottom. I'm going to mark it from here rather than China control click all around there. Click Mark seams. Now what we should be able to do is near enough, grab all this, but we do need to mark seam going at the back. You can see that I need to mark it going all the way down here. Now, the places where I don't need to mark any seam is going to be in here and it's going to be at the top. So I don't need to mark a seem there because this basically can wrap pretty flat. This going round here is going to be an infinite loop, so I need to make sure that I mark a scene and then I'm going down to the bottom. I don't actually need to mark the sam on here, as you can see, again, because it's flat. Right click Mark scene. And now what I can do is I should, let's see the moments of truth. Let's go to editing. Let's press dot to Zoom in and let's press and wrap. All right. Now, I don't think we're going to get away with these without our trim sheet one being on here. And two, these being wrapped so they're flat and not rounded like soap. Let's have a look at that. The first thing I'm going to do is I'm going to actually bring in my actual trim. If I press trim, let's see if I've got one. I've just got base color, which doesn't really help me? Let's have a look at this one, see if that's actual trim sheet. No, it's not. So let's click the down arrow. And I think let's have a look. Is it this one? No. No, I'm looking for the gold trim sheet. Okay, so this is the trim sheet It's base call a PNG 006 and I should actually name these. I think what I'll do is I'll go in and I'll make sure these are named for you. Just look for the one that's the gold trim sheet. And then what you can see is now. We just need to apply this to our actual goblet. If I click this down arrow, I'm looking for the gold, and I'm looking for the gold like so. And then I'm also going to put plus down arrow gold trim sheet, and then what I'm going to do now, I'm going to click on all the parts where I want the actual trim sheet to be. So I I grab this bit, for instance, if I grab this part, and if I grab the bottom, then what I can do is I can assign these to my trim sheet like so. You can see already what that's looking like. Now, let's come round and unwrap these correctly because at the moment, we're going to have a lot of problems. If I grab this one here, press the L button, and then what I'll do is I'll press, like Matt PAC, follow active quads, click. Now, you should be able to move it up. G. Press the S button now. G again, S and there we go and now just squish it in. S and y, like so and then G and y and move it up into place and just hold the ship bar there you go. You can see that looks perfect all the way around, and this is why we use trim sheet. Real really nice. All right. The next part then is I'll grab this part here and we'll use. I'm just thinking, should we use the whole thing on here we could, I actually like the way it is there. I think I'm not going to do that. What I'm going to do now is though I'm going to come to this one. I'm going to press L. I'm actually going to come to this part because it's near the actual sceam then press L. And then presses and again, we'll do the same thing. Not that way. We'll press Mac pack, follow up to quads. Okay. All right. So we'll end it there. And on the next lesson, what we'll do then is, we'll get this actually finished and then move on to the other goblet. Then by the end of that lesson, we should have all of these treasure parts actually finished. All right, everyone, hope you enjoyed that. See you in the next one. Thanks a lot. Bye bye. 28. Finishing our Jewel Props: Welcome back everyone to Blender and Unreal engine becoming a dungeon prop artist. Now, let's come in and unwrap this. So what I'm going to do is I'm going to move it. A, G, G, let's move it, so I'm going to move it here down here. Then what I'm going to do is I'm going to make it march much smaller. Zoom in a little bit, press G. I'm going to bring it down to then Inm going to press S and y, squish it in, and then S bring it in a little bit more G and X, just to move it along the side, and then finally tiny tiny bit more holding the shift, just trying to get it placed like so. All right. I'm happy with that. The one thing I want to do is can I bring it a little bit higher like so. There you go. You can see just how easy that was to actually do that. All right. I'm happy with that. Now, the one thing I think I want is maybe I want another one on here. We could We could unwrap it and put another one of these on there. Actually, I don't think we'll over complicate this. What we'll do is we'll grab this now, and we're going to go we actually do need a seam on here and the reason we need a seam on here is because we're trying to put these bits down in the bottom, or we could put them going up this part here. I think we'll do it that way. Let's try to see if we pm on here. I'm going to grab this at the top. I want to press L. I want to press map pack again. I don't know what the Black Map pack that seems to be actually a book. It doesn't seem to have worked on there. I'm just looking to see what the issues are. Let's try again. Let's try follow active quads, flick. Yeah, you can see there's actually an issue there. I'm not sure why that is. I'm just going to try and wrap in it. And I don't think I'm actually going to get away with that. Let's try turning it round a minute. A spin it around. What I'm looking for is this part on here. I'm looking to see if I can get this part in here. Now, remember that we don't actually have this on the trimst I've come in and I click a sign. Now you can see that we've got that, but you can see the terrible bend that we're actually getting. That's not well one at all. So let's press one. Let's try a different way of wrapping it. I'm going to try cylinder projection, instead, and then I'm just going to look what that looks like, and then what I'm going to do is going to try and bring it in. And now you can see that we're getting somewhere. We can see that's much, much better light, so now I'm going to just go round and never look at that and that is then a different way to actually wrap that. All right you can see now though, we've got a problem with this bottom bit. I'm actually instead of putting the little edges on here, I'm going to come in, and grab this going round here. Shift click click mark. I'm going to make sure then that this part here. This part is actually part gold instead of the trim sheet, and then I'll come round and I'll mark the seam where my other one is, which if we go round, we can see is here. Let's mark the seam here as well. That's just to cover it just in case we don't want seams marked everywhere because then you can't really hide them if you do if you can see them. Right click M. Let's come in then grab this one, L and M pack, we're having some issues with that. I'm not sure why that is. Why are we have any issues with that. Let's press Control A, A transforms, right click origins geometry. And now let's come in again. Okay, now it's actually wrapping. And the reason was that I didn't reset my transformations, and now it's actually wrapping. So let's press follow qualick there we go. Now, let's bring this down to this one here. Let's press the Stress G. There we go. And now let's just in a little bit. I'm just making sure that that's on. And then all I want to do now is press S and y. And make those much, much bigger, and then do I want them right at the bottom or do you want them along this part here, so I can press G and y holding shift again and just move them up to that. I think that looks absolutely fine. All right. I'm really happy with that. Now, let's think about doing the next one. We can see we're going to have a different one here. Basically, we could have this going down or we could just have this mostly gold with just some gemstones. I think probably we'll do that because it'll just make it a little bit easier for us. I'm going to grab this. I'm going to click the down arrow, I'm going to put it on gold, first of all, and then I'm going to grab it a Smart UV project, click, and then I'm just going to come in now and give these gemstones I'm going to come in to each of these. Now, sometimes if I select one or two of them, I can sometimes get away with selecting select similar, and let's put in perimeter or something like that, and you can see it select going all the way around. We do have a problem, however, it's selected, some of the ones that we don't want the inside of here, for instance. Well what I can do is I can actually come in and just take those off and then come into the bottom using C and just middle mouse it just to take that off then and there we go. All right, so I've still got all these selected. Now compress control plus controls plus. Finally, then, plus down arrow and we're looking for the red gemstones, Plicker sign, and there we go. That looks really nice. Now, let's actually bring in I'm thinking, do I bring in this round the bottom? Yeah, we'll do it round the bottom here, grab this, what we'll do actually instead of doing it that way? We'll just grab it like this, right click Mark. I'm going to put the seam basically where the one is on here. If I grab both of them. Shift click both of them. You can see the seam is around the back, so I'm going to put a seam here as well. Click Mark seen. Now let's come in and you can see that this is, it's just rendering, that's okay. All right. Let's grab this one, press L, and then press M P, click, and then and follow active ads, click. Now, let's click plus down arrow, and gold trim she and then AG, bring it into place, press the S bar, make it much, much smaller. G, and then S and y so not assign it, so I just need to click a sign and there we go. And now S and y make it thinner, and then G and y, bring it down, so there we go. All right. I'm really happy with both of these. These look really fantastic now. Now, let's come back to modeling. And what we'll discuss now is materials and textures. The more materials and textures you have in your build, the more basically the bigger the build will actually be, and the more it will cost as regards rendering. Now, when we're using trim sheets and things like that, because we're using materials over and over and over again, it actually saves you a lot of time and it actually makes things really optimized. So that's a really good thing about it. So try and keep you materials and textures down to a minimum and try and use trim sheets or atlas textures, things like that to keep that down. In a bit, we'll actually I'm going to be showing you what the atlases look like, and then you'll have an understanding not only of trim sheets and normal textures, but also of atlases. All right. For now, then, let's go in and name these. First of all, I'm going to click on one of them. I'm going to come over to the right hand side, press the dot. I'm going to name this goblet and rubies. Okay. And then going to come to the next one. I'm just going to call this one goblet. So. I'm going to call this necklace dot again, necklace I'm going to call this silver play so and then we'll go to Diamond. And then P then finally Ruby. Also fi whatever you want to call it. I'm not even sure myself. Now, what I'm going to do is I'm going to make a new collection. I'm going to call it treasure. Just need to find where this new collection has gone. There it is down at the bottom. Treasure. And then one winter, I'm going to grab all of these with B. I'm going to press dot, and then one winter. I'm just going to grab any one of them, pull them down and drop them in my treasure, like so. All right, that's those done. Now, let's close those up. Just make sure everything's nice and tidy. We can see we've got a collection here, or it's actually my human. I'll put a human reference just so we know what that is. And there we go. Everything now is nice and tidy, and now I can just move these over to where these actually are over here. So let's move them over here. So, like so, and let's move the necklace. In fact, what we'll do is because there could be a chance that we actually take a beautiful render of everything or you might want to do that. So I'm just positioning them in a little bit of that place so you can actually see them. And when you move them all together now, you'll still be able to see everything. Double tap the A and we'll just move these out a little bit as well. I'm also thinking, is that, it's gemstone yellow. All right. One last check on it on our renders. Double tap the Okay. And there we go. Really, really nice. All right. So let's come up and put this back onto object mode. Let's come now and save out our files. And also just make sure that everything's packed still, so make sure that it should stay packed anyway. So thanks a lot, and I hope you're really enjoying it. I'll see you on the next one. Bye bye. 29. Working with Atlas Texture Maps: Welcome back everyone to Blender and Egon becoming a Dungeon prop artist. Now, let's first of all, before we continue because we're going to be doing the books next. I just want to show you what the Atlas actually looks like. So here is the Atlas. And when you open this up, You can see that instead of the actual tm sheets where it's going across, this one is just put into block. You basically have to get your actual UV map and place it over each one of these. I'm also going to show you how we can actually change the colors on here. You already know pretty much if we're using an RGB curves, we can change them into darker or lighter books, you've got a lot of actually variations that way, but you can also change the color as well. So we'll discuss that shortly. Let's first of all, though think about actually creating our books. We have six real different types of books. Let's create those now. All I'm going to do is, I'm just going to come in Make sure that my curse is in the center, press shift date and bring in a e. And then all I'm going to do is just make it the kind of book kind of shape, so I'm going to press S and and then S and y don't worry too much about the sizing of them at the moment or anything like that. Then what I'm going to do is I'm going to press one. I'm going to bring the move them over, and then I'm going to press shift D. And then I'm going to press Shift D, like so. Then what I'm going to do now is, I'm just going to join all of these together. I'm going to press control, join them all together. Then finally, what I'm going to do is I'm going to come in now with face elect and just grab the backs of them. I'm going to pull them out like so. Then I'm going to press Control A, all transforms clicks that origin geometry. Now finally, I'm just going to come in to the backs of them like so. Press control B and pull them out. Then finally, all I'm going to do is just turn the segments. Maybe to two, something like that. All right. So they're my first lot of books. Now, let's create the next lot of books. I'm just going to press Shift A, bring in a cube again. I'm going to also press and x, bring them in and an sensed and just make them roughly to the same size as the other one, you can see the little bit big there. As I say, don't worry too much about the actual size. I'm going to make these a little bit taller. So now I want to do is just bring them out. S and Y, I do want them roughly to be actually the same size. Now I'm going to do with this one is, I'm just going to grab each side up here. I'm going to press control B, and I'm just going to level them off like so. Now you'll notice there that I did level them off without actually reset my transforms, and that's because I know I can get away with actually doing it that way on this actual occasion. All right. Again, what I'm going to do is I'm going to grab this book press shift D. And then shift D, and now we've got three of them. Now, let's see if I can bring these in now. The problem we're going to have is can we actually bring in an edge loop? Let's do these first. If I bring it in edge loop here, Control, two, left click, right click. Then what I want to do is now bring them out from each other. I'm going to try and do them all at the same time. Let's see if we can. I'm going to come to this one now. Controlli click Control two left click, right click. Now, I just want to grab all of these, and I want to pull them out from each other, and I don't think I can actually do it like this, but we'll give it a try. Individual origins, S and X, and there you go. You can't actually pull them out. What you need to do is you need to grab each one, come to medium point, and now press S and X, like so. And the reason we're doing that, of course, is because of the fact that we need to have pages in these books. What we've done is we've pulled it out with S and X based on median point and that then is given our book bindings here. Now what I need to do is I just need to come down and copy this. If I come down, I can click on it, Press Control C and just copy that scale. Why am I doing that? Because now if I come in, click on these two, press S and just enter button, and then come down to it to press Control V, and there you go, they'll be now exactly the same. Let's do the same on this, SX and. Control V, and there we go. Simple as that. Now, let's come to these books here, so we're going to do the same thing. I'm going to grab them all together, Control J, press Control R two, you can see that we've got a bit of a problem on these, that we can't even get it to go back to there. How do we actually fix that? There is actually a really easy fix. All we need to do is come to our little vertis option, click on this one, press the J button. What that's going to do is it's going to actually bring in an edge loop nearly all the way around. We just need to go down the bottom and do that. Press control, press J button. Now, I should be able to bring in my edge loops like the other books, which you can see that we can do that. All right. That's really good to know. Now, let's come in and do the same on this one. This one here, and then let's do this one and this one. Then let's come in and do this one. Finally, this one. Control two, left click, right click, and then just the same on each of these. Now finally, let's come in and pull these out a little bit. So you can see they're not quite in the right place. Shift click and I'm going to do the same thing again. So SNX pull them out, copy, Control C, and the same now with this. So grab them both S x, er, control V, and the same now with this one. SX and control V, and there we go. All of our books nearly done. Now, let's come into these three first. What I'm going to do is, I'm just going to grab each of these going all the way around. I want going to do is I'm going to press and enter for extrude and then alternS I should be able to bring those in and make them look like pox like so. Really, really nice way of doing them. All right. Let's come into this now, so I'm going to grab all of these. Exactly the same principle. Then I'm going to press enter alternS bring them in. Like so, and there we go. Really, really nice books. All right. Now, let's come in what we'll do is now we'll actually grab them all, control J, and we'll try and do them all together realistically. First of all, though, I'm just going to make sure that my face orientation is okay, which it pretty much is. Then what I'm going to do is I'm going to also shade smooth. I'm going to bring in to smooth and there we go. I'm just looking to make sure I'm happy with these edges on here. If you're not, all you can do is you can bring up this slightly, and there we go, we can actually get rid of these. I think I'm okay with these ones. The always wants to be a bit more rounded, so they're fine. Let's turn off face orientation now and we should be left with something like this. Now let's think about our actual seams. You can see pretty much I've got all of these selected, which makes it really easy for me because now I can just press control mark seams. Then all they need to do is just come in and just get rid of the seams on here so I can right click now and clear seams. Now, the other thing is, do we actually want these books beveled off? Do we actually want these parts at least leveled off? We could come in and level them off going all the way around here. I'm just going to give it a try with one just to see what it looks like, to see if it actually adds anything of value to what we're trying to do. Some jaw going to grab all of the edges. Now, there is an easy way to grab all the edges, but on this occasion, there's no point because we'll grab the inside edge as well. I don't actually want to do that. All I'm going to do now is just press control B and just pull them out very slightly, like so, and then I'm going to turn down my segments, and now I'm just going to have a look at what that book looks like. I don't think let's put it on 30 again. I'm not sure whether I'm actually happy with it looking like that. I don't think it's actually worth it, so I'm just going to press control, d. Go back and it was worth the check. All right. So now we need to create two more materials. So let's come over to our materials. Once again, we're going to grab both of these Shift D, bring them over. And then I'm going to grab the first one, come to materials and minus off the gemstone yellow, and then this one minus off the gemstone white, and then we'll come back to this one and we'll call it book cases. Bookcases or book covers. Let's call it that and then we're going to know exactly what this one is. Then we'll come to this one and we'll call this one book pages. Now what we're going to do is just going to save it out on the next one, what we'll do is we'll actually get these materials in and we'll get them into our asset manager as well, and we should have these books finished on the next one. Then we're going to move on to our barrels and crates and things like that something a little bit different. All right, everyone. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 30. Creating the Books & Paper: Welcome microphone one to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. Now, let's go to our shading panel. Let's con to this one here. This one is book pages. Let's click on our principle, Control Shift T. Then all we're going to do is we're going to go and we're looking for this is the book covers, as you can see here, and I think a little bit further down here. Let's have a look, Weapons fabric, wax, water, and actually for So we've got book covers. Okay. Is this one, which is dungeon texture book side covers. So let's bring that in. I'm going to bring in I think everything apart from this direct text. It's open GL and just bring all those in principled and there we go. All right. So I don't think I need to mess with anything apart from off course, this part here, which is the actual ambient occlusion. So if I go to this one here, I'll just grab both of these. Control C, come back to this one, Control V. And that's not grab those, so I'm going to go back to it. So I'm just going to grab them. So grab both of these, control C, back to this one, Control V, and there we go. All right. Now we'll plug the color in and I'll plug the color into the top and finally this into the bottom and there we go. That's way way too high as I can see, so I need to bring that down. And just make them look a little bit more like books, and there we go. We can see that's looking much much better like that. Now let's come to our book covers, exactly the same thing. Control Shift T. Let's find them. I think we are book covers. Let's grab all of these. Bring them in Control V. Now let's plug this one in as well into here, and finally into here. I think they look fine as they are. Now we've got those. What we can do now is come back. We can hide that out of the way. In fact, before we do that better off coming to our asset manager. And actually putting the materials in, I forgot all, we've got our materials. Where are they? I forgot. We need to make sure press tab, I'm going to plate markers asset, plate markers asset. I'm also looking, is that silver treasure markers asset? Yes, it is. That one's already marked. You can see that these little books here means basically it's been marked as assets. So we can see we are in the right zone now, so let's grab both of these. Let's pull those into our materials. The other thing I forgot is we can see I think I forgot to do my goblets. So I'll come back to my treasure. Which is this one here and I'm going to open this up, grab them all, right click, Mark as I set. All right. It's a shame we can't grab them all from there, but we can't. I'm going to grab this one, this one and this one. I'm just going to work my way along actually. I'm looking for all of those so I think there is one, two, three, four, five, I've got the silver plate. There we go. I knew there was one more. Let's drop them into props, and there we go. Now we should have all of our props in there fine. That's perfect. Now, let's come then back to our books because we did put them in the materials, so you can see we've got book covers and book pages, and now let's come to our actual books. We need to be in the UV editing, of course. Let's put them then onto our cycles render, which we are. Now finally, let's come in and do our books first. If I come into this one, L L L and L. Let's press and wrap. We should end up with that. Then what I need to do is I need to go and click the down arrow. I'm going to put this on book covers. That'll do them all the same. Click the plus one, down arrow, and let's put it on book pages, and then we'll click a sign on these. Now we can see that these probably need to be much, much bigger. Like so now you can see that's what they're going to look like really nice and really different straight off the bat. Now, let's put this. I need to look for book covers now. I think it's no it's not that one. Let's come down and I'm going to look for my book covers, which is this one here. All right. This is my book cover atlas. Now, let's come in and we'll grab all of these, and we'll just hide them out of the way because it's going to make it so much easier. So page hide those out of the way. They are here, then now even though you can't actually see because they're still being rendered basically. Then what I can do is I can come in now. And I should be able to I'm thinking I'm probably going to have to mark a seam on all these. It's just going to make it so much easier by doing that because then I can wrap them correctly. So if I come in and grab this going in, let's say, all the way around here. We'll give this one to try. This one to be the actual guinea pig. We'll also instead just put this on materials instead. We'll see much better anyway. And then what I can do is I can just grab it going all the way around there and then grab both of these, like so, both of these, like so, and then shift click. I think I just need to grab then this one and this one and this one. All right, right click maxim. Now, let's grab it and see what that looks like. So I'm going to press on wrap, and this is how we should end up. Now what I should be able to do is I'll put it in the first one, so I'm going to press S. And then I'm going to come to here, and we can see that that is how it's going to look and we should have a front which is on there now, as you can see this front here. Now, the best thing about this. Now what we could actually do is we can move this to our hearts content, so I can put it more in the middle, for instance, I can also as well make it smaller or bigger. I can also as well bring it down to the perfect place where I want it, so I want that right in the center there, something like that. There we go. You can see just down that looks. Now, let's come in and move these out the way as well. If I grab these, press G, I can put them then in My atlas, L G. Let's put this one down here. Let's grab both of these. L and L G, pull those down, and then let's grab this one and might need to make this part smaller. In fact, I'll just rotate it. R 90 G. So I'm going to make it a little bit bigger, so I've not got any of those on there. I'm going to press tab, and there we go, there is the first book actually done. That's looking really nice. Now, let's come to the next one. Now the thing is, there is an option to copy Vs to one to another boy doesn't actually work that well. We're just going to have to actually do this by hand. It won't take too long because we'll do them all basically at the same time. If we come in and we just press old shifting click and we just go around the tops of them first, so I'm going to do this one as well, as you can see, round the tops the same with this one round the tops. And we just do them all at the same time, and then I don't think we'll actually miss anything as well. So all the way around the tops. Now, let's come to the other side. So I'm going to grab each one. I'm sure if I miss one, I'll be able to see it quite easily, that one have missed. I'm just going to grab them all there. Then I'm going to come down to this all the way down. I think actually, we might have wrap these. Now I'm going to come to this and this. Like so. And then finally, we'll go around the backs of them, which are these here. So underneath, going all the way around. Might need to press tab and hide that other the way. Let's come back to them. And finally this one. Let's click and Moxy. All right. Let's see if these basically the same of those. If I grab this one, can I wrap this actually, let's press wrap, and it's unwrapped exactly the same as the other one. I'm just thinking about this one. Let's see if it actually is. If I press A, press S, and then I'm going to spin it round 90, I'm going to press G. The first bit I want to do, of is the actual spine of the book. So I'm going to press S G s put that into place, something like that. Have a look at that and you can see it's a little bit bigger at the moment, going all the way around there. You can see we've got a little bit of a cut off. But what we can do is we cord make it a little bit different by just pressing S and X and squishing it in a little bit instead of changing the whole thing. Let's have a look what that looks like. You can see that that actually looks pretty nice. I'm just going to actually make it a little bit bigger, S and without bringing in the other bit. I'm just looking now to grab this part here and then bring it down so that we've got it. I'm it looks to me like it's overlapping a little bit on that bit, just press G and. Bring it down to something like that. Thing that looks fine. Then we've got this on the front. Now I need to do is fit these bits in. I'm just going to grab them all and then I'm going to press G. Then all I'm going to do is press S and bring them in, and then all I need to do is just move them out the way. L L. You can see this might cause a little bit of a problem. Sometimes it does. It just means that we've tried to grab too much. I'm just wondering if we can split them off anyway, I should be able to Just unwrap those separate. I grab these, I'm going to just press on wrap like so, and now I can just grab them A and G. Might be quicker actually to unwrap them separate from each other. So you can see here can move those. Let's come underneath. A. It's just basically now spending a little bit of time making sure that these are all correct. If you want as well, what you can do is you can come in, press L, shift H, and then you can see, have a lot all the way around it double tap the A. Okay. And there you go. You can see. It's only the inside where you can see straight through it. But they're looking pretty nice. I'm happy with that one. All right. Let's press Altag bring everything back. And then what we'll do now is on the next one w is we'll get these actually finished off. Now we've got a great technique nailed down for actually doing them. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 31. Creating Larger Props from Smaller Ones: Okay. Welcome back every one to Blender and real engine becoming a dungeon prop artist. Now, we've done these too, so I'm going to hide those out of the way. And then we're onto this one. Now, I've got my paper back for some reason. I'm going to come back and just hide my paper out of the way, like so just hide them, and then I'll come to this one first. So wrap now I've unwrap them, I'm going to come to this part, and I'm going to just do these separately. So I'm going to press L. I'm going to press A 90 and I think I'm going to put this one on here. G like so, have a look at that one. And yeah that's looking pretty cool. Now I'll do is we'll hide this out of the way, and now we can come in and actually focus on doing these parts here, so I can come in, grab them all A S then G and then just move them out of the way. You can see now that that is probably going to be a much quicker way of actually doing this. Let's have a look. There we go, and now let's move on to our next one. I'm going to hide that other way. Again, going to come in, Edge select, L u wrap. Come back to this one. Now we'll use the black one, L A G S, and let's pull it out a little bit as well. I'm going to first of all, pull it out this way, S and X. Yeah, so then S and y, and I'm going to stretch it out so just go to have a lot and make sure I'm happy with that. Yes, I don't think I am. So what I'm going to do instead is, I'm going to grab this one. Control click round to here, and then all I'll do is I'll just pull this out. Until I'm actually. Happy with it and I think. Yeah. Now that's looking much better. Okay, I'm happy with that. That means then now I can actually come in, grab the whole thing, the front of it, hide out of the way with L, and then now finally come back to the other parts. I'm going to press L on it with edge leg, and I'm going to press A S, make them smaller. So can see we might have some problems. So I'm going to press 90, just spin it round, and then I can put that into place, grab these two, G, put those into place. There we go. Another bolt down. Let's hide that out of the way. Let's come to this one now, press L. A. I'm just going to, I'm just going to unwrap them all. Rap now I'll just come in and grab this one, and I'll just make it a little bit easier. A 90. Let's come into this one. G S and then S and Y L and there we go. Now, let's come in, hide that one out of the way, and let's come to select, grab the whole thing. You can see it's just rinse and repeat basically. So I'm going to just re unwrap these, so unwrap them, press the born, rinse repeat, G, drop them in place, and there we go as simple as that. Page hide them out the way. We've already unwrap this, so we'll just grab this one in face select, L A R 90, bring it in. S. Let's put it in place, so S. And then let's put it right in the center here as you can see, and then S and y. I don't want to stress this one out too much because we have got this part on here. So this part on here as you can see. It is the wrong way round. So I just press 180, spin it around, and now it's gone the right side up, and now I can just hide that way. Come in L on everything. You wrap, and now let's just put those into this part here, so I'm just going to press G, and then I'm just going to grab all of these. I'm going to press B to grab everything with box control plus G to move it, and there we go. All right, let's press tag, bring everything back, double tap the A. And now, I just want to quick look at these and see what they look like in our actual renderer. I'm just going to come to them and check those out. Press the dot one. And there we go, really, really nice bunch of books. Now the thing is with these books, obviously, as you can see, they're all the same size, and we don't actually want that. So now I would go in and split them up. So book one book two, book three, that's much easier to actually work with these. So basically if you go in, you press a to grab everything, select, and then you come down to let's have a look. Where is it Mesh split them from mesh, Mesh. There we go. Separate by loose parts, and now they're all split up. Now what we can do is we can just press control A, A transforms, right click Set origin to geometry, and now you'll see they're all actually split up. Okay, now what we can do is we can grab like this one, we can press S, make it a little bit smaller. We can grab this one, we can press S and X, make it a little bit thinner. S and make it a little bit tiny bit taller, and then we can come to this one. Again, make it a small book, like so, a relatively thick book, and like so. Let's just place them down now on here, and let's come to the next one. We'll make this a big book. Like so, and then finally, this one, a really think like so. There you go. Now you can see, they'll look very different. Now the thing is you want them to be relatively the same back. So if you can grab these ones here, pull them back a little bit because they are going in a bookcase after all, they just want randomizing like so. Now, the last thing, I did say that I would show you how to change the color. Before we do that though, let's actually just grab one of them. If I grab this one, shift D and I'll spin it round. In fact, I'll do them altogether, so I'm going to grab this one. Shift D. And then I'll finally grab this one with shift, spin them all around, like so. Like so. So now let's spin them around together, hopefully. So, there we go. So y -90. There we go. Now, let's press Z like so and then I'll grab just this one Z bring it down, and then, bring it down, put it on top of this one. There we go. All right, you go, there are all your books and they look really nice. Now, change the color. What we can do is we only want to change the color of the actual book covers. But what I want to do is I can change it to an alternative. I've come here and I basically copy this, copy material like so and then click new new paste material. Then all I want to do is call it book covers, alternative then all I want to do with these is I just want to change this to b covers alternative. If I click on this, book covers alternative, this one, B covers alternative, minus this one off. There we go, you can see that minus the wrong one off. I'm just going to instead of doing that, I'm going to move this one up to the top, come back to it, move it up to the top, and now I should be able to minus this one off, and there we go. Same with this one then, we'll click the down arrow covers. B covers alternative. There we go. It's just the paper on one of them was up higher than the other one. I just adds to move. Now, with the book covers alternatives then, let's go to our shading panel. Then all we need to do is we just need to bring in another node. I'm just going to move this one over here. This over here, and then we should have enough room to work with. I'm going to press dot then just to go to my book, double tap the A. And then what I'm going to do is I'm going to bring a saturation in. So if I go to search, saturation, you can see hue and saturation. That is what we want. If I drop that in there, now what you can do is you can change the u of the books and have completely different colored books, really, really nice. You can also make them really bright if you want, or you can make them really dull if you want to. Not that I want to do anything like that. All I want to do is change the U and saturation. Just to make the books have a lot of variation. All right. Let's now go back to modeling. Let's now press tab. I'm going to join these three books together, so control J and then I'm going to actually bring these now and put them into place. Now one thing about these boxes, they're a little bit big. I think what I'll do is I'll just make them much, much smaller now, and then I can put them into place at the back of here, like soap. Now, let's come in and name these. I'll come to this one first, and I'll call it book. Stack, like so, and then we'll just call book one book two, because that makes it much, much easier. Book one. Book space control C. Sorry, Control A, control C, and then's pro one. Then let's come to the next one, which is this one. Control V, and then two. And then this one Control V, and three. Control V and four, Control V and five. And finally, this one here, control V and six. Now, let's make a new actual collection, right click new collection. Let's find where we've put it. Here it is. Books Let's grab all of these come on up and just drag them, drop them into your books. And finally, now let's just everything up. Like so. And now all we need to do is come to our books finally and just grab all of these, grab them all again, right click, and you're going to mark them as assets. Now finally, let's go to our asset manager. You're just going to grab all of these books. Don't know why for some reason, but they've not got the colors on. Sometimes that happens. Let's drop them in our props, so let's click file, save. Maybe the colors will come back in time. That sometimes happens as well. All right. Let's go back to modeling and there we go. The next one we're going to look at is we're going to actually look at our barrels, our water bucket and our create. Lots to get on with on the next lesson. All right, everyone. I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 32. The Best Workflow for Barrels: Welcome back everyone to Blender and Unreal engine becoming a dungeon art system. This is where we left off. Now then, let's hide these out of the way because we're not going to need them at the moment. Let's clean this up a little bit so we can actually see what we're doing. I'm going to move my materials up to the top so that I know where it is every time. I'm not going to keep searching through it, let's just click that off. Then what I want to do is I'm going to actually start now on our barrels and crase we can see here, we've got barrels and crates, and we should have a different color depending on which edges they are and things like that. You can see here that I can improve these slightly by bringing these out, for instance, but I think the first one we'll start on is the actual barrel. Just bringing your reference guide so you've actually got it. Now, this is the bread and butter of every modeler, creating barrels. We've all probably had to go at this. I'm going to show you the best way that I found to create barrels. Let's start from that. First of all, I'm going to bring in a cylinder, so I'm going to press Shift day. Make sure your cursor is in the sensor. Shift mesh, bring in a cylinder. And I'm going to leave this on 16. I think that's going to be absolutely perfect what I mean. I'm going to make it smaller. I'm going to press one. I'm going to press ns d and bring it out a little bit. Something like that. You can see it's way way too big but I'm not going to worry about the actual width of it at the moment. I'm going to make it a little bit smaller. Then I'm just looking at the top now. Am I happy with the top. I don't think so. I think it's still too small at the top. You can see here, that would be a little bit dinky. Now we can bring it out, and I think that's more less the right size. Now I can just press s d and squish it down now to the size I want it. Something. Something like that looks about the right size. All right. So now I need to do is just bring out the center of it. I tend to just add in three edge loop, so control one, two, three, left click, right clip, and then I bring my proportional editing in, grab this center one, press in one, and then all I want to do is pull it out to where I want it. You can see now I'm bringing it out to the size of the barrel that I want, something like that looks pretty nice as you can see. All right. Make sure it's still sing the ground plane. Now what I'm going to do is I'm going to take the top of it. This part here, I'm going to separate it away from the other parts. I'm going to press y and then just the way. The bottom part of it, I'm actually just going to delete because I've got a top part, so I don't need a bottom part as well. Delete faces. All right. Now last of all, I just want to mark some seams in here and what I tend to do because I've grown 16, I know that can mark one every second one. Ship click, just going all the way around like so. And we're just going to mark a seam in here, like so. Right click, Mark seam. All right. Now what I tend to do is I tend to make a copy of this, so I'll grab it all. I'll press Shift D, enter. Then what I'll do is I'll hide one out the way. Hide one of them out the way. Now I'll come in to the second one and press Shift click on each of these edges that are created. I'll press Control B, pull it out. These basically are going to be those bars that go around your actual crate. Now, I've done that. All I want to do is, I just want to press y and separate those out of the way, and then I'm just going to hide those out of the way. Now I'm going to come into the other bits that I've got here. I really don't need these anymore, so I'm just going to press delete vertices, and now press voltage, and you should be left with something like this. Now, I tend to separate all these off and it just makes it easier to actually work with. I'll come to this part, P selection. Come to these bars here. Instead of I'll try and grab all of these, so I'm just going to come around the center here, like so. I'm going to separate these up as well, like so, P selection tab, and now you can see that we've got all of these parts. If I can actually click on them. So P going to hide that. Yeah, there they are. All right. Let's make these bars first because then we'll actually be able to see what we're actually doing. First of all, we'll press control all transforms, right click the OginsGeometry, right click shapes move, bring in auto smooth, and now we're going to add in a solidify, modify, and of course, it has to go outwards. Let's add in solidify. Now it's going inwards, even thickness on, bring it outwards. Hold in the shift born, so press voltage, and now you'll be able to see your actual barrel and how that's actually going to fit around there. So now you can decide how you actually want these rings. Now, because this is a little bit stylized, we probably want them a little bit thicker than normal because we are going to bevel off these edges as well. So something like that, I think should be absolutely fine. All right. So now let's hide this part out of the way and we'll come to these parts. Now, why did I actually bevel off all these? Now, why did I mark a seam on all these? Because now I can actually split them off. So if I come in and I go to each other one, like so, You can see now if I press y, y and then G without proportion, now they're all split off. Now that enables me to do is I can press A, Control A, all transforms, clips origin to geometry. I can shade them smooth. I can also then put the to smooth on, and now you can see we're left with something like this. Now I can come in and bring in my modifier and bring in a solidify. Now, you could bring in the solidify and then split them off. But what I tend to do is I tend to bring in the solidify after just because I find it a little bit easier. The other thing is before you actually do that, the easiest way to do this is what I should have done is, I should have gone round and actually mark my seams on my tops and bottoms because it will make it much much easier for you in the long run as you will see. I'm just going to quickly go round, fix my mistake because I should've done this before splitting them off. Like so, and then you're going to right click mark sin. All right. Now what you want to do is, I'm going to put this on object mode so I can see what I'm actually doing. Now I'm going to put on even thickness and bring these inwards this time. Now you can see that we do have a slight problem here. In that, these are going to be overlapping but don't worry. One of the reasons why we mark those scenes is so that we can actually fix that in the long run. As I say, this is the quickest way I've found of making barrels, and I think they also look really nice. Let's actually apply that once you've got the right thickness of your wood. I think this looks good. So I can just go apply that now. Now if you press tab, you can see you end up with something like this. Now what you can do is you can come in. And you can grab each one of these. You can see how easy it is to grab now because we actually mark those seams off. You can then go on to individual origins, and you can then also put this on normal. Now what you'll find is if I press S and X, I can pull all of these in jot the tad on the inside like that, and that makes it really, really easy to do this. Now we need to do is just do the inside as well. So I'm going to go L, L, L, L, L, L and L, and how this works is because it's basing it on normals, which means it's basing it on each one of these individual parts, where the normals are based on where it is in space in blender. It's trying to bring it in on the x of each one of these, whichever way they're facing. Also because we've not grown at medium point, it's not pulling it into the middle, it's pulling it based on each one of these. That's why it works. Now for process and x you can see, I can bring these in as well. Like so, and there you go. That is the easiest way I found to create a barrel. Now, the next thing you want to do before finishing this is, you want to actually start pulling the tops of these out, and then you want to give it a bevel. And the reason you want to do that is because then you're going to have a good idea of how much gaps between each of these, and you might want to pull them out a little bit. Let's actually do that now. All I'm going to do, I'm just going to change this back to global. I'm going to come back then to each one of these and going to randomize them a little bit. So if I press R and X, for instance, I can move them a little bit, so I'm basically just making them a bit uneven because there's no way these barrels would be even. Now, the thing is with the bottom of the barrels, they would be pretty much flat on the floor. The reason for that is is because of the fact that they're going to be scraping along the floor and barrels normally go the same way up, whichever way you're putting them. They've always have a top where they've got a hole where the actual beer or whatever comes out of it. The bottoms of them would be relatively flat. Now you can see one problem we do have with these is, they're not actually flat on here. What I'm going to do is I'm just going to press Alt Shift and click and just grab them going around all of the bottom up here just to finish this bottom off. Now if I press one, press Z going to wireframe, you can see just how far they are off. All you need to do then is just pull them down, press Z, solid, and now you'll see they're perfectly flat and gs really, really nice. Now, as I say, let's come in and bevel it. So I'm going to press control you all transforms right click the origins, geometry, and then what I'm going to do is come over, Bevel, turn my bevel down, turn it up one, and let's see what that looks like. Still too high as you can see, let's try point no no three, and there we go. There is your barels done. Now, the one thing I do want to do before finishing is, I want to bring these together in the middle because you certainly don't want to be seen through this barrel. All you're going to do is you're going to come in. You're going to select each one of these like we're going to just bring them out a little bit more before finishing. L L going all the way around, make sure this is back on normal and then SN x or S and Y, let's even get away with that. So, I think, some individual origins, S&X Yeah, I think actually because I've actually altered them a little bit or I've got the bevel on or something, it's actually making a little bit harder for me. So if I just press S, then I should hold in the shift borne, just be able to bring them out very, very slightly, just so they're nearly touching each other and just make sure that I don't actually want to see through that. I'm just going to come here pressing the S borne. I non moving, very well for me at the moment. So let's put it onto global and see if that's any bear. Yeah, there we go. That's probably a bit bear. I'm just going to bring them a little bit plus Don't worry too much about the middles anyway because you're never going to see in there, so as long as they're actually near enough crossing over. So if I press S again, bring them out, just a little bit more. Yeah. I think that's absolutely fine. All right. So that's it for this one. Let's go up and save out our work, like so. And then what we'll do on the next one is we'll get the tops and the bottoms done, and of course, the actual drinking part of the actual barrel. All right, everyone. So hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. Oh. 33. Easy Ways to Create Crates: Welcome back to everyone, slender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. All right, so let's now apply that bevel, so Control A, and let's come down to these actual rings that go around here. Let's apply the solidify with Control A. Let's press Control A again, all transforms clips origin geometry. And now let's bring in another devil. So I'm just looking Do I want to bevel going all the way around there. I don't think so. Maybe not because I don't think I want this bevel on the inside. I'm going to take that off, and I'm going to do this manual instead, so I'm just going to come in off shift click on each one of these like so. Then what I'm going to do is I'm just going to press control B. Us bevel them off slightly on that looks a ton better. Let's press saltge and we should have our top here, which is really good because now we can actually use this top to actually create the top and bottom of the barrel. Again, control A all transforms clicks origins geometry, pull it up. Now you will notice we do have a problem in that. We have no faces on here, so how are we supposed to make some planks out of it? Well, if we come in, grab it, delete, you'll have one that says only faces. Delete that the way, and now you'll end up with something like this. And now we need to do is just grab it all. Press seven square of the top minus off, two on each one, right click and bridge edge loops. And now just fill these ones in, F and F. Now we need to do is just make the barrel top so we can see here if we grab all of these, right click, maxin there we go. There's the top of our actual barrel, which is looking really cool. All right. So now let's split these off first, L L and L, y, G, split them off. A, and let's push them in now. If we come up to our individual origins, press in S and y, we should be able to bring them in. Then what we should be able to do rather than solidify is just pull them down. Pull them down. And then what I tend to do is I tend to pull them out now. In other words, S and y pull them together like so, and then just delete faces. The reason I'm doing that is you're never going to see inside there, so you might as well just delete them. All right. Finally, then, Control transforms, right click the origins geometry, add modifier, bevel, turn it down, and then you want to put it on naught point or nut three, like so. Basically, this is what we've been doing all the way along. This is basically the really fast workflow of pretty much doing all of the building that we're doing, especially when it comes to wooden objects and things like that. Let's now bring this down, put this in place, and you can see how that's fitting in beautifully there. Now I want to do is bring it to the bottom. Shift, bring it down to the bottom, and then 180. Spin it around and then we're just going to pull it all into place. Now on the bottom, it would be fairly close to the actual bottom, so just be aware of that. All right. Finally, then, let's just bring in the actual where the nozzle goes on for the drinking part of it. All I'm going to do is just going to grab this shift because it's a selected. Shift A, let's bring in another cylinder, should be okay on 16. I think we should be able to get away with that, and then all we're going to do is just make a real simple part where they put that nozzle on there. S said bring it up. Put it on the top, wherever you want it. Then all you're going to do is you're going to come. Face select, grab this face, press the born to bring it in. Press to bring it down, trude I again, bring it in, and then, bring it up like so, and then finally I, and then one more down like so. There we go. Something like that. Now, let's right click and set origin to geometry, and Control of course. I'll do that first, actually. Control Alayle transforms then right click set origin to geometry. Right click again, shapes move, Autosove on. Now finally, let's level this off as well. So we're going to come in, level and there we go, something like that, and that looks fine because it's going to be metal anyway, so that should be absolutely fine. Let's press control. Now I'm going to do is I'm just going to grab all of this. I'm going to actually come up then to object, convert to mesh because we know then we can apply all of those modifies if we've got any outstanding and press control, and there we go. One barrel done, and you see just how fast that actually was to actually do that. Now let's just reset the transformations. Set origin geometry and move that to the side. Now, let's create one of our crates. What I tend to do when I'm creating anything like crates or even barrels, I try and use the mesh over and over again because I find that creating things like this, it makes it so much easier. One problem you will have with some types of creses as you'll see, creating the outside, so the blocks that go outside is sometimes a bit tedious. So you're better off just getting the dimensions of the crate first and then actually creating those little struts that go along the outside separately. Just makes it easier, as you'll see as we go along. All right. So what I'm going to do is I'm going to press, there's cursor to world origin, and I'm going to bring in a plane. So I'm going to bring in the plane. It should be square. I'm going to bring it down like so. Then what I'm going to do is I'm going to press tab and I'm going to bring it up to the right dimensions that I actually want. Something like those dimensions, I think should be absolutely fine. Bear in mind that sometimes creates things that go from side to side. We might put those in going around the side, actually, I think we will. We didn't actually do it in the other part of it. All right. Now, how do we actually create these outside parts that we actually want? Well, it's pretty similar to what we did before. If I press shift, duplicate this. If I press control, two, left click, right click, and then control, two left click, right click. Now let's just pull these out to the dimensions of one. If I go over the top, I'm going to press S and y. Let's pull these out on medium point. S and y, pull them out to something like that. If I have the blocks like that, come down over here and copy this. Control C. Grab these sides now, shift and click and x this time, press enter, and then you just want to put it on the actual X. Hover over the Control V, and there you go. Now you've got your actual piece of wood. Now, what you want to do is you want to actually take these and you want to again press shift, bring a delete vertices like so. All right. These hopefully are going to be our sides of our actual create. Now, if I come in, put this on individual origins. Press seven, press S. Now you can see that we can pull those out and that's looking pretty nice. All right. Now what we need to do is we need to pull these down. I'm going to put these into place. I'm going to put them just at the top, like so. Then what we going to do is I'm going to pull these down so There you go. The beginnings of our actual crate and you can see quite easy to do. All right. One thing I'm thinking is I need the tops on now, so I can also create these those pretty much in a similar way. I'm going to grab this actual crater. I'm going to press P selection just to separate it off. And then what I'm going to do is I'm going to actually duplicate this now. I'm going to press shift, enter hide one of them out of the way, so I've got one still behind it, and then I'm going to press tab. Now I'm going to do is I'm going to bring in two edge loops. So To left click, right click. And now let's press sons Ed and pull those up. Making sure we're on medium points. Es pull them up to the size that you actually want them. Something like that. Then what you can do is you can press right click and mark a seam and then that's going to make it pretty easy to actually split them off. Now we can grab the bottom and the top delete faces. We should end up with something like this. Now. Actually, marking seams didn't really help there, so I'll just split these off now, press delete and faces. Now, this point it's up to you. If you want them a little bit further in or if you're happy with that far the R out, make sure that you're happy with it before you actually solidify them. Control A transforms, right click the origin to geometry, adding a modify it and bring in a solidify even thickness on as always, and then just bring them in to where you want them. Something like that, I think looks absolutely fine. Over over it. Control A and there we go. Now, for press tage now, we can bring back our actual e. Let's grab it, make it smaller. There you go. You can see what exactly what we're going to do with this. We're going to actually make the other parts of the crate. Now, if I come in to this, what I can do is I can press control, and I can bring in, let's say three that way, and I'm not going to actually mark see what I'm going to do instead now is go around the other way. So I'm going to press control. Three left plate right clip. These are the ones I want actually going round here. What I'm going to do instead is, I'm going to now hide all of this out of the way, all the rest of it, in other words. If I press Shift H, hide everything else out of the way, and now I've got this. One is a one, these going round this way and these going up this way. We'll do this one first. I grab this one to this one, this one to this one, and then just press y and hide them out of the way. Now I can go around the other side. Shifting clip, shift clip, basically splitting each of these, press, lth, and then all I need to do now is split these up as well. Like so and y. Now, what did I just do there. If I grab the whole thing, and I put this onto individual origins, and I press S, you can see, basically I've split all of these sides up, I've split all of the top up, and what that enables me to do now is when we come back after on the next lesson, it solidify these bevel them and we'll get that nice wooden edge that we actually look for. It's a bit of a cheat actually, a bit of a hack because we're actually joining these all together and just doing a bit of an easy way. I'm going to press controls now, put them where they were. I'm going to go file, save and there we go. All right, everyone, so I hope you enjoyed that and I'll say on the next one. Thanks, lot. Bye bye. 34. Simplifying Prop Models : Okay. Welcome back, everyone to Blender and Unreal engine, becoming a dungeon prop artist, and this is where we left off. Now, let's press Altag bring back everything, and now we can actually see what we're going to do with this. The first thing I want to do is actually, I want to make them a little bit smaller. So if I grab them all, I'm just going to make them a tiny, tiny bit smaller, so you can see that little edge in there. Then what I want to do is I want to come in, adding a modifier and bring in a solidifier first of all, I'm going to reset all my transforms, right click origins, geometry, add modifier. Let's bring in a solidify. And I can't actually see in there, so I'm just going to look through here as you can see, I'm going to make sure even thickness is on, and then I'm going to pull them out a little bit further, like so and I think that's going to be okay. Now, the next thing I want to do is I want to do a bit of modifier stack in. So I want to add a bevel over the top, sorry, underneath this one. So if I come over, add modifier bevel, and then you'll notice that we can actually bevel these off at the same time and solidifying it, which is really, really handy. Now, if I take my bevel down to zero and then just put it up one, and you can see that's probably going to be not far off. So if I put this on 0.5, that probably is going to be absolutely fine. I think that will be good. Now, you can see that we do have a problem with the bottom. I forgot to put the actual bottom part on. This part here is actually sticking to it a little bit. I'm not sure why the Okay. Why is the bomb sticking through and the top isn't? I don't actually know where mines have. Let's have a look, actually. Why is that? Yeah. We've got the top there. Mine actually just need to pull this bomb down just to make sure that that's not happening. Let's press al tage. Let's actually sort this out now. So I'm going to grab all of these. I'm going to pull them down a little bit further. And then one I'm going to do is hopefully grab this part here, pull it down a little bit not all of it. Of course, you can see that. I just want to grab all of that going down, pull it down a little bit further. Just to stop that flashing. Basically what it means is two faces are overlapping. And if you turn this crater around or anything like that, you really don't actually want to happening. So make sure that they're not actually overlapping or anything like that. All right. So that's looking fine now. Now what I want to do is I want to come back to these parts, and I want to apply this Slidify and bevel. So I might as well just go to object, convert and mesh, like hide those out the way. Now what I'm going to do is I'm going to actually do the same on these. I might as well join them altogether, so control J No best data to join because I already joined them. Press G just to make sure it's all join. Control A transforms, right click the origins geometry, and now finally bring in a bevel. Bring it all the way down, bring it up one, and I think that's going to be too high. Let's try no 0.5. Yeah, I think that should be fine. All tag, bring everything back. Double tap the A. Yeah. I think that's going to be absolutely fine. Now, you can see with this. It's huge, but we're going to make it smaller in a minute. Let's just press control A now, let's join it all together with Control J, and now let's make it a little bit smaller like so. This is just one of two crates, so you can see this is one of the smaller crates, so going to move it over there. Now, if you want to put some sideways parts in, you're welcome to do that. I think with Mamo going to leave it like that, actually. One thing I would like to do though, Just to make it look a little bit bet is if I come to these sides on here, I'm just going to press control and bring in three edge loops, left click, right click on each of these on. Three, left click, right click because you will notice on creates actually the tops of them, especially on stylized things are normally a little bit out. If I grab each of these now, and I want it connected only. Connected only, put it on, make sure it's connected only. Then what I want to do is just pull these out just a tiny bit, see if I can pull them out. Yeah, like that. That looks much better. Okay, I'm happy with that, and now I'll just do the same on the bots. So we're just going to column out. Okay. So look at that. Yeah, there we go. All right. That's look in the tomb. All right. Let's move that over there. That's that create done. And as I said, if you want to put sideways parts on them, all you need to do is British press cursor to selected, bring in a Q and rotate it by 45 degrees. I'll just quick to show you shift, bring it in. And then press and pull it together. And then just put it in this corner. So make sure it's tucked in that corner. And now what you want to do is rotate it. So if you rotate it, so r, y, 45, and you should be able to then pull this down near enough to that. So if you grab this face and then just make sure this is on normal, you'll see then that that's point in the right way. And now without proportion it's on, you should be able to pull this that way. And then finally, put it back on global and just pull it down into place like. You can see just how easy that is, if you want those parts on there. I'm not going to have my parts on there like that, so I'm just going to leave it like this. All right. So now we're on to creating our bucket, and then we'll create our second actual crate. Ship cursor to world origin. Let's again bring in another cube. We'll make it pretty much the same way as what we did with our barrel, a little bit different, but near enough the same way. We're going to have it on 16. Press the S born, bring it down, and the bucket should be, probably somewhere around that size. Press the tab button. Face select, grab the bottom face, S. Just get your right dimensions first, press one, make sure that it's all on the ground plane, like so. And then what we'll do is we'll actually delete this top face because we don't actually need it. The bottom one, we're going to keep the same as the barrel, so I'm just going to split it off with y G, split it off, P selection, and then we can hide that part of the way and work on this part here. I come to my bucket now. Every other one again. So we're just going to select every one with shift select, like so. Going all the way around, right click marking. Now with the bucket, you might want a little bit of variation in how they move and things like that. If you press control before splitting off, so left click, right click, so. Now when you split them off, you have got the ability to randomize them a little bit. If I come in now, press L, just going round. Press, g, just to make sure they're split off. Now let's actually bring them in with our solid bytes. I'm going to press tab control all transforms, right click, origins geometry, shades move. Atos move on. Now finally, let's bring in our salty fi bring it in. So it's up to you whether you go outwards. Might actually bear outwards. I'm not actually sure. I'm just looking. Yeah, I think, actually, I'm going to bring it outwards like that. I think that's actually probably going to look a bit better. I can bring these in if I want to. We've also got the ability to bring them in like that. The problem you're going to have is though that you're going to have them overlapping at the front or overlapping at the bottom, sorry, in the inside. I think I'm going to bring them in like that actually. Now, one thing I did forget to do, and if you do this, sometimes it can happen is I just forgot to put those bars around, so we'll sort those out in a minute anyway. So I'm going to do now is I'm just going to hover over mydify press control. Now I'm going to do is. Now, the other thing is, I don't think I actually, I didn't mark seam around the top as well, and that's also caused me some problems now because it means I have to go into each one of these to actually grab them, which is not a good thing. Rather than do that, I'm just going to press controls d. I'm actually going to go back to this point before I actually split them off, so I'm just going to press controls d, and it's another reason as well, why you actually want to put the amount of undo options. If you remember a few lessons ago, up to 100 or something like that, to make sure you can actually go back. Now while I'm here, what I can do is I can add in another edge loop, so control, left click, right click. I can then come to the bottom one, so control. Left click, bring it down. Now I can actually use this to create these bars. If I press shifting click and then control B, I can bring that out and that can be my top and my bottom now. So what I'm going to do is I'm basically going to grab all of the press shift. P selection, split those off, tie them out of the way, and now I can come back to this. Now, the one thing is I've got too many edge loops on here now, really don't need that many actually. I'll do is I'll just get rid of one of them, so I'm going to grab that one, and then you're just going to come down to dissolve edges, and I'll get rid of that. Okay. Now, let's grab these going all the way around. Let's not make the same mistake. Right click, Mark seems. Now what we can do is we can again, press control all transforms, right click gin geometry, add modifier, now let's bring in that solidify. It should be much better I move this now. Okay, let's move it that way. Let's move it in a little bit. And you can see, I have another problem in that. I didn't split these off. So let's hide the other way in it. Let's now split these off. So we're going to press L L, L L like so. Why? OH, make sure they've hit, so I'm going to press G, and there we go. Now finally, again, transforms, right click Sargen geometry, and then let's try our solidify and now it should work okay. So let's see if it does. Yeah. Now they're working okay as you can see. So now if I bring them out, we get that kind of look, can also move them out just a little bit. So we get that little edging down there, what we actually want. All right. Let's go to file. Let's save it out, and then the next one, we should be able to get this bucket finished now at least most of the next create finished as well. All right, everyone, so hope you're really enjoying it, and I'll see on the next one. Thanks a lot. Bye bye. 35. Other Ways to Work with Seams: Welcome back everyone to Blender and Unreal Engine becoming a dungeon artist, and this is where we left off. Now, let's supply our solidify so let's press control A and apply that other the way. Then what we can do is first of all, bring in these parts. Because I actually did my seams this time, I should be able to grab each one of these now on the inside and bring them in. All I'm going to do is grab each one of these. I want to press SNC in a minute. One of gromal I've got it on individuals, SNX S and is it? Could we be S and and for some reason, I can't bring those in. All I'm pressing there is S and Z twice, and now, I brought them in, but you can see that I need now to pull them out. All I'm going to do I brought them in. I'm going to go back to global now and then I'm going to press S and Z and just bring them all. Into place like so. There we go. There is our bucket. All right. All I'm going to do now as well as I'm going to press S again and just bring them out a little bit more. Just to get them a little bit closer together. Es jaws to bring them in now like so, and I think that's looking pretty nice. All right. So now I just want to randomize the outside of them. I'm going to put my proportional editing on, put it onto random. Then all I'm going to do is I'm going to come to this. I also want to make sure that I've got connected only off because I don't want to pull them too far apart. Now if I pull it out, as you'll see, we pull them both together, which is a bit better. Then just pulling them separately because we don't want big holes or anything like that in there, but you can see doing this makes them look much, much better now, and that's one of the reason we did it. You can either pull them out or you can press the GK, whichever you prefer. Now you're making it look a little bit battered on those sides. Now, let's come in, take that off, and then what we'll do is we'll press tab, and I'll just go in and I'll grab each one of these and Ijaw pull them a little bit without proportional editing on, of course, and then pull these down a little bit, and then grab this one and pull them to the side a little bit, maybe, and maybe this one x maybe, something like that. Make them a little bit and even and that looks really nice. All right. Let's click shapes smooth. Let's bring in our auto smooth and now let's level them off. So Before we do that, though, as always, let's resell transformation. Control all transforms sagen, geometry, and modifier, bevel them off, bring it all the way down, bring it all one. No point, all three. There we go. There is our bucket. Now, let's apply that control apply it tag, bring back those metal bars. We should have some metal bars in here. The first thing I'm going to do is I'm just going to grab my bucket, press H, and then I'm going to grab these parts. What I'm going to do is I want to pull them out basically. Because if I pull these out of the moment, you'll see that they get larger. I don't really want to do that. The best way to do this actually is just come in. Grab them going around the outside with old shifting click. Same with this one. Then what you want to do is you want to press altern and bring them out that way, and that then is going to be much much better to do it that way. Now for press altage you can see that looks much better apart from the fact that too far out, but now I can at least I can see what I'm actually doing. Now I can just press al test and bring them in to the right side now and there you go. You can see just how easy it was to do it that way. Now, the bottom of the bucket, I'm just going to bring it up a little bit just so I can see what I'm doing. I want to press control all transforms right click. SorgentGeometry. Let's press tab, and now we can see what we're doing. Let's put it onto our verte select. And what I'm going to do instead on this one. I'm just going to grab them, so press J. And this is the other way you can do it rather than actually bridging it. So we're just going to fill them in with J. You just grab two vertices Press J and just fill them in, like so. All right. Then what you can do is you can just now mark ace. Now, I fill them in all that way. That's just make sure that's not an ang or anything like that. And now I can do is just mark scene and split them off. If I grab this one and this one, just to make sure this split off, A, make sure that this is on individual origins, S and X, pull them in. I'll just actually use the extrude on this, extrude them out when there you go. Now, let's pull them a bit closer together on the tops of them so it doesn't leak in the buck or anything. Then all I'll do then is just grab the tops off here, pull them down. And this one as well, pull it down or up a little bit, whichever way you want to go, and then we'll just grab the middle and we'll just pull it up just make it a little bit even in case you want you bucket tipped over or something like that. Okay. So again, now, We might as well add in our bevel, control click origin geometry, Bevel we'll just simplic this on 0.3, like so. Then I'm just going to drop this down into place a bucket would be to bring it down something like that, that's probably how it's going to be looking. Now we'll do the same thing with these. First of all, these control, right click, origin geometry, shapes move. Auto move on and now finally let's bevel these off. Add modifier bevel, bring it down, no 0.3. And there we go. All right. Let's apply that. Let's make sure we've got no modifiers on any of these. Let's apply that and then let's join it all together with Control J and right click shape smooth, make sure to smooth is on, and there we go. There is our bucket. All right. Finally, now, I did forget one thing. We do need some water on this pocket. Now, although water is C through, we still need a mesh to put it on. Let's actually, first of all, bring our cursor to our bucket, shifur selected, and we just want a simple plane on here. If I press shift A, bring in a circle Make sure it's on 16, and then all I'll do is I'll make it smaller to the right side, so I'll bring it up and I want my water to be maybe, maybe just in there. Press the tab button, press te just to fill it in, and there you go. There is your actual water ready to go. Now, let's join this to the actual bucket because what that means is it will inherit all of the smoothness like here, if I join it the other way around. I'll just quickly show you this because it's very interesting. If I get the bucket and adjoin it to this plane and I press control J, you can see now that we've got not auto smooth. Press control though, and I join it the other way. If I grab the top, grab my bucket. Control J. You can see inherits to smooth. That's why we do it that way around. All right. Now we actually come into the last actual crate. Let's get the size in scale of the crate correct first. All I'm going to do is I'm going to press shift. Cursors a world origin. Shift A, let's bring in a Q. I'm going to make it a lot smaller. I'm going to press one, then what I'm going to do is I'm going to bring it up like so, and then S and X and pull it out. I want it to be a fairly fairly chunky actual crate. Now the thing is with this crate, it's going to be a little bit easier actually than the crate over here. I'm going to go in. I'm going to press control off. Bring it up. That's going to be the top of the crate right there. I'm going to separate that off now as well because that then will make it easier for me. If I come in, press control plus, press y, G, hide out the way. With the rest of the crate, I want it to be supported by some planks coming up here. As you can see on the reference, I don't actually want any blocks in here I want to just to be a little bit different. The way I'm going to do that, first of all, I'm going to bring in some edge loops around here. Left click, right click. Then what I want to do though is I want to make sure that I can actually randomize this and make them a little bit uneven. I'm going to first of all, right click Mark seams Then what I'm going to do is I'm going to press control off. Bring in some more edge loops. Left click, right click. Do the same on this side, maybe not as many on this side, just two, left click, right click. It really doesn't matter how many you bring in. Just don't go over the top with it. Then what you want to do is you just want to now split these off as well. Right click mark seams then finally, the bottom. Now, you could have the bottom exactly the same as the top. I don't think so on this what do is, I'll just mark a seam going all the way around there. So right click, Mark seam. And then what I'll do is I'll come to each of these. So I'm just selecting this control selecting, shift selecting, control selecting like so right click mark seams. Now, I'm just going to split everything off, so I'm going to come in. With I'm going to do probably these two first. So what I tend to do is I'll come to the first lot, I'll press y and then H. I'll come to the next lot, L, y, H, and then basically, I'm going to work my way along. So I'm going to do both of these at the same time. So as you can see, I'm going y, H, and then working my way along. Y H. Basically on these ones, because they're not joined to anything, I can just come in, grab both of these, press Y and H, hide them out of the way. Press saltaH now just to give it a test, always give it a test. So what you can do is you can come in individual origins, and now you just press S, and you will see how everything is split up. You could see basically how everything split up there. Press controls and there we go. Now, let's work on this top this. I'm going to grab the top of it. I'm going to make it slightly bigger. You can see that when I pulled that out, it's pulling out in a weird way, it's pulling this out further than this part. It could be that it's a rectangle, or it could be the fact that I've not reset the transformations since I did all that work. I'm just going to press control all transforms, right click origins geometry. Go back in now, and now let's pull it out and it should. Should pull out a lot more even. Let's try and he's pulling out relatively even not quite, but relatively so I'm just going to pull it out like that. Then instead, I'm just going to press S and y and just pull it out like that, and there we go. That's the top of our crate. All right. I'm really happy with this so far. I'm just going to save it out and on the next lesson then, we should be able to get this create absolutely finished. All right, everyone, hope he enjoyed that and I'll see on the next lesson. Thanks a lot. Bye bye. 36. Adding Damage to our Models: Welcome back, everyone to Blender and Unreal Engine, becoming a dungeon prop artist, and this is where we left off. Now, the thing is about this top is it needs to actually be planks of wood, so there's no point really doing anything with this at the moment. In other words, there's no point point of bot money because it needs to be plank. So what I'm going to do is control, going to go left click, right click. I'm also going to mark the seams, mark seams. And then what I'm going to do now is just delete this off of. Shift and click going all the way around, hopefully. There we go, delete. Faces, and there we go. Now. Let's split this off as well, so grab every other one, y, G, make sure to split off. Pretty much now we've got everything we need to actually work with. All we need to do now is just bring these down just so we can make sure that they're all going in the right direction. In other words, now I need to bring these in and level them. But I need to make sure that they're all going in the right direction, so that's why I've just pulled them out a little bit. All I'm going to do now is I'm going to press control all transforms, right click SgenGeometry, add modify it, and let's bring in a solidified. Now, we'll see that they're all either going in the right way, actually, if I put this on even thickness and pull it out a little bit, they're definitely going in the rightway You can see these are going in the right way. These are going in the right way. That is absolutely perfect. Now what I'm going to do is because they're all split off, I should be able to add in another modifier stack and level them off and we should end up with something like that. Pops bring it down 0.3. There we go. You can see already that's looking really nice. Now, the one thing is that I don't want these parts on here, I want these basically coming out. What I want to do is I want to come to this, grab all of these and all of the other side, I want them slightly out. I don't want them so seamless on there. What I first of all want to do is I want to pull them out slightly and then bring them out. What do I mean by that? If I press S and y, I can pull them out and have them slightly stuck out, like so, and then I can come to each of these and pull them in. So that they fit much better than they did, because I want to have that little gap there still. You can see this gap down here. We still want that there because we want it to look fairly realistic. Now, the one thing you can see is because we've split these out that we've lost how far these come out. All I'm going to do now, they're coming out far enough that way, just not this way. I'm just going to go in now and grab each of these with edge select. I'm going to come in and grab each of these, not that one, this one here. And then I'm going to pull them out now. S and y. I'm thinking and pulling these out of the moment on individual origins, and I don't want that. So let's pull them out a medium point instead. S and y pull them out and there we go, now it's over hanging. Now I can come in and grab the bottom ones, pull them up. And now I can work out where I want these parts to be. So you can see I need to pull these out a little bit further on this way. So I'm going to press S and X. Let's pull them out, so we've got that little lip there, and then S and y, pull them out, just so we've got that little lip on there. All right. So now if you press tab, now you can see just how nice that actually looks. Now, the one thing is that we have got a little bit of a lip on here, and we need to just now bring in some wooden parts on each of the front and back. So first of all, though, I'm going to make sure grab the I should be already grabbed. I'm going to go to object, convert to mesh. So now, finally, before we do those bits, what I want to do is I want to come in, making sure I'm on proportional editing. I'm just going to grab one of them, and I should now be able to grab all of this side and just pull them up and make them a bit uneven as you can see. So if I press G, can make it a little bit, uneven pull them out a little bit. So I'm just based working on making it, as I say, a little bit uneven because we don't want them to be even or anything like that. I'm happy with that. The last thing I want to do now then is just again, add some variation to it. Turn off your proportionality. Let's go in now and just pull these out just a little bit, pull them in a little bit, spin them round if you need to, things like that. Let's press our spin this one round and we're making them uneven because of the moment. They certainly look a little bit too even. So I'm pulling it. Like I said, and I'm also, you can see on I've not got a lot of room to mess around with on this. I have on the bottom one, but not on the top one. So what I really need to do is I need to bring in some edge loops. So I'm just going to press control, bring in some edge loops. You can also do it this way. And then control two and then bring this in bring it up. Bring it round There you go. Now you can see, it's looking really, really uneven. Now just look for any spots while missing so I can see on this side, there's quite a few spots missing going to make it a little bit on that side, looking on that side. The bottom doesn't matter too much, but I think we've really pretty much nailed it on this one. Now let's bring in some wooden parts. I'm going to press shift selected shift, let's bring in a cube. Make the cuban word smaller. Let's bring it to the side, S, and then s and y, like so, and now let's bring it to the bottom. And then one I'm going to do is, I'm just going to grab the top of it. Oops not with that on, like so. Then I'm thinking, do I need to bend that round or anything? I don't think so but what I do think I need to do is I need to e put it, I think I'll put it just on there like so, and I think that's going to look a lot. I'm also thinking, I think I'll keep these straight, actually. So I'm going to leave it, so I'm going to press shift, like so ops. Then what I'm going to do is I've got those two separated. I might as well press control all transforms right click. Set origins three D cursor add in a mirror then. So we'll just put it over the other side. Turn the x off, put the Y on, there we go. Then let's add in as well, a level. Put it on 0.3 0.3. Now we'll bring in another cube, shift A, and we'll put that on the other side. Cube bring it out. Make sure we keep it relatively straight when we pull it out because it will be the right height then. Press the boron Okay. S and X. Press three, so we can see the side view. Let's pull it down. And this time I want this to be right at the bottom of here. I think it's going to look better if it's nailed in around here as you can see. All right. Then what we're going to do is just pull it to the side, pull it up, and then just pull it in. It's a little bit too thick. Something like that looks absolutely fine. All right. Now let's put that to the other side. Again, we might as well use this cursor that we've got here, so control a transforms Sgenthue the cursor, add modifier mirror. That's put it over the other side. Can we put it over this side as well? Yes, we can, and we can also bring in the bevel and we'll put that again on nut point n three. Er, and there we go. There is our actual crate finish. Now, let's press B and grab all of this. Then what we'll do instead is come up to convert mesh and then join it all together. Cla shade smooth, Atomve on, and there we go. There is our actual crate. Now, you can see, we do have a little bit of an issue with our Autosmooth that is because we just need to turn it up or down very slightly. And we're going down, actually, not. You're going to check 20. There we go. I'm just wondering about this part. Maybe I pulled this part out a little bit too much. Now you can. Instead of doing that, we'll leave it on 25, actually, but what we'll do instead is just come, grab this one. Control click this one, right click and just go to shave flat, and then it should fix any parts like this one as well. So just grab it. Control click, shave flat. I'm just looking now, we can see the bottom, Controlli shape flat. There we go, that's pretty much that done them looking at the top. Making sure I'm happy with it. T I just pulled it out a little bit too much, so I'm going to do the same thing on here, shape flat. Just want to make sure that I've not got any lumps or anything like that. I'm going to also do this one shape flat. That's looking at Tum B. You can see I've got another one here, right click shape flat. I'm going to do the same here and the same here. Thanks so. And I'm pretty much going to be going all the way around it by the time I've finished this, but still it will look better than where it did, so shades flat. There we go. Yeah. I'm happy with how that looks now apart from this one. Okay. Okay. All right enough for that. Let's pull this to the back then and let's pull these two for. Then we can pull in some nice position pull over there. Yeah. That looks good, and let's see if they're on the ground plane. Everything's on the ground plane apart from this. Let's pull it up. All right. Let's actually go in and name them before we end this. All I'll do is press and I'll call it large create then I'll come to this one, I'll call it barrel. I'll come to this one small crate. And book it. Finally, let's go to file, save it, and I'll see you on the next lesson, everyone. Thanks a lot. Bye bye. 37. Creating a Water Material: Welcome back to everyone to Blend and Unreal Engine becoming a dungeon prop artist, and this is where we left off. Now, let's put our materials just on. Now, we've pretty much got all of the materials in already set up. I think, let's just have a quick look. Let's show this. Okay. So we've got this one here, which is iron dock, so we can use that one. We've also got this wood stylized. And so we've got this wood here and we've got a lighter wood as well. But what I want to do is I want to use this wood, but I actually want to make probably the sides of these actual craze a little bit darker. All I'm going to do is I'm going to actually press shift, duplicate this one over, and then what I'm going to do is I'm going to change this now. I'm going to copy it. So copy material minus this off new paste material. And then all I'm going to do is I'm going to call later. In fact, I'm going to go to this one, copy this. Control C, come back to this one, control, and then all I'm going to do is put Doc Then I'm just going to go in and just make this a little bit darker and we know already how to do that. If we go to our shading panel, we've already actually got this darkness on here. What I can do now is I can bring it down just a tad and make it just a little bit darker than that one there. This one wants to be a bit lighter because in the next few lessons, I'm going to show you how to actually bring in decals and put those on these crates as well. Now, let's come back to. Let's go to the UV editing thing. I think they'll be the best option on these. Let's also hide that out of the way because we're not going to need it. And I'm looking. Yeah, it's on material already. All right. So these should be pretty straightforward because of the fact that these are just wooden planks. So if I come in and grab all of this, pressure and Smart UV project, click and let's then bring our material in, which will be se wood, stylized planks, grab everything, spin it around. So 90, Let's have a lot that's looking like. There you go. You can see it really, really simple, just do bring them around. Now the one thing I would say always, just make sure they're happy with the grain, make sure it's going the same way. If it's going the other way and turning round and things like you really don't want that. Now finally, what I want to do is I want to come in with edgek because we've got some seams on here. I just want to make sure I get them all, and I'm just going to come in and give these parts the other type of wood. If I click plus down arrow, and then I go to wood and I click the dark one, click a sign, and Okay. Let's have a look at that. Did I click a sign? Sign. There we go. Yeah. They don't look a lot darker because maybe I need to have this on. We're also going to have a look and see in the light. They don't seem to be that much darker. I need to actually go to my stylized oh, that's why for some reason, we've put the wrong one on. So we need there we go. There we go. That looks bad. A dark. Maybe they want to be a little bit darker these. So we'll go back to our shading on our dark one and pull them up a little bit just to make sure they're a little bit dark. Press the dart and then I'll bring them Not that dar a little bit dark or something like that, you can see it looks a tom batter now. All right. So back to you be editing. And now I'm going to show you another technique which we can use to quickly do the rest of these. So I I come in, the one actually we're missing, so we'll do that first before I show you this technique. What I'm going to do is I'm going to grab one of these cor shiftn one going to do is I'm going to put this as not that one. I'm going to minus this off, and I'm going to make a new one, and we'll just call it water then what we'll do is we'll come to our shading panel. Grab my principal control shift t, and the one I'm looking for now is my water so dungeon, water, this one here. All right, so let's grab. I don't think we're going to need the ammunocclusion, but we'll grab it anyway just in case principled, let's press dot so we can go to it and you can see now that looks really, really nice. Now, we need to make sure that we make the water look correct. So we'll make sure we're doing that. We might need to bring in some edge loops and things like that. But first of all, let's make sure it's actually going the right way. So we can see here. That opacity isn't high enough. So let's sort out. I'm going to press shift A. I'm going to bring in another curve. I'm going to drop that there, and then one going to do is I'm going to bring it down and just make it a little bit more sat through. Now, it needs to be quite dirty. The water doesn't want to be like, it doesn't want to be sat through or anything like that, needs to wall up like water now. It's a bit irritating that we've just got this on here and no actual empty parts in there, but we'll see how this comes out once we've actually got this. Okay. Now, you can see at the moment in that all of this has this kind of texture on top of it, and we don't actually want that. What I'm going to do is I'm actually going to quickly and do a piece of magic and quickly swap that texture over and then I'm just going to reimport it. We'll actually come in and what we'll do is we've got our water here, we've got everything here. I'm going to actually press B. I'm going to actually glee all these out of the way, and now I'm going to actually re import them. Okay. Let's click on the principle control shift T, and we're going to bring in our water, which is this one. I'm going to go all the way down here. These three principled, and there we go. Now you can see, some of the water is this and some is this. You've got to understand why I've actually done that when we actually unwrap them. Let's press shift. Let's bring that gradient that curve in curve GB curve. Let's drop that in there. Let's bring it down. Let's make it maybe a little bit more see through Maybe that's a bit too much. Something like that thing. I think that's going to be absolutely fine, just looking around. Yeah, that's going to be fine. All right. Now, let's actually hide that the way. Now we've got our water, so it's called water. Let's come, hide this way, close that, come back now to our water. If we go in press dot, you'll see that when I actually unwrap this part here, if I press wrap, you'll see at the moment it unwraps like let's go to our UV editing. I'll open up the water and just show you press dot again. And I'll actually apply the water. Well, I'll put it on there, at least, so water. Here we go. You can see at the moment that it looks like this. That's not what we want really. We want it to be this going around the outside. The way we're going to do that is I'm actually going to come and get rid of the inside of this. Basically, I'm going to press P selection. Just for now, bring it, and then I'm going to grab the outside, grab the outside, like so I'm not going to fill it in in the way we did. I'm going to press shifty. Shift space bar, bring in my move tool, bring it up, L, and then I'll leave that one out the way. So I lead ver says, grab this one again. Old Ship click, press the P born, and now you've got something like that. Now what you want to do is you want to bring it in. I bring it in. Right click Marco now we're going to mark same on here as well, right click Marco sin. Now I want to do is just bring the water in. I'm going to look for my actual water. I think it's this color. Now it's not that one. Let's look for the next one, this one here. You can see that now we've got gradion on here. As we go further out, it gets more and more of this ripple effect on the water. That's great. But we need to be able to use that. What I'm going to do, first of all, is I'm going to grab this part. I'm going to press on wrap. I'm going to press A, bring it in to somewhere like here. And then what I'm going to do now, I'm going to unwrap this. Again, I'm going to use Light Map pack. So I'm going to grab all this, light Map pack, and then follow active quads, and we're going to end up with this. Now, why have I done that? Because now if I bring this over, so you can see that we've got this kind of edge now going around the outside. If I now make this smaller, so, y, bring it in. Put this on here. Now we've got an edge, but you can see that it's not dropping off for the moment. What I'm going to do is press S, make it smaller. First of all, press G, make it smaller. Now I'm going to do is press S and y and I should now get that nice gradient I'm looking for. There you go. Now you can see round the edges if I put this closer down. I'm going to press right click origin to geometry, bring it down now and put it right where I want it. Now you can see we've got that edge going around the outside of it, and then the inside of it is actually C through and that's exactly what we want. That's the look we're going for. Now, as soon as we bring the wood in, we see much easier what this actually looks like. Let's do that first because at the moment, this bucket is actually made of water and we don't want that. What I want to do is I want to click plus down arrow. Let's bring in the wood. We've got wood, stylized planks, we'll actually put it on the dark one because it's going to look bad because it is a bucket after all. Then we've also got the metal as well, so we're going to click down arrow and we're going to go with the dark iron, we've got iron do. Now, let's come into the wood first. We're going to grab all of the pieces of wood with edge I'm going to remove all of these actual seams because I don't really need them, so I'm just going to c seams. Then I'm going to pressure you and I'm going to do smart UV project. Okay. I'm going to then assign the iron doc. There we go. Now you can see much, much better why we actually did that. Now finally, I'm going to bring in the metal, so I'm going to grab all of these. I'm going to click Clear sin, and I'm going to press, Smart UV project, and then I'm going to add in the iron dog. There we go. There is our bucket. Now, you can see, we don't have a problem in that. All of these are going the wrong way round, so I forgot that. I'm just going to turn them round. A 90, spin them around, and there we go. I think let's bring them in a little bit, and have a look at that. Maybe bring them out. I look at that. I think I'm going to drop them valve in the right place, something like that. All right. That's looking really nice. There is our bucket. There is our grading on there as well, which is what we're trying to do. Now, before we finish, just go back to this. I need to grab it tab, and I'm just looking to make sure that I'm actually happy with our father that's going. S and y, just going to pull it up. And I'm thinking it's the wrong way round. So I'm just going to spin it round. So 180 spin it round. Yeah, that's the way it should be. That's exactly how it should be. And now I can simply bring it in so SY, bring it in a little bit more, and there we go. All right. I'm happy with that. Now, the thing you could do with this if you wanted to stand out a little bit more than this is we can go around and mess around with the actual gradient and things like that because at the moment, I think that this, as you can see, if I pull it down to here, it's much, much clearer there, but we've got it right up here. I want to press some win and try. Just bring it up a little bit so I'm going to bring it down, you win. Yeah. That's looking better. All right. I think I need to bring it in though. S or out. Let's try S and bring it out. Yeah, there we go. That's the look we're actually looking for. All right. Finally, we got there with the book. Let's go to file, save and save that out and a little bit of a long one. Then the next one, we should get everything actually textured as far as barrels and crates and things that go. All right, everyone, so enjoyed that. S on the next one. Thanks a lot. Bye bye. 38. Finishing Our Barrel & Crates: Welcome back to everyone to Blender and real engine becoming a dungeon prop artist. This is where we left off. Now, I want to go a little bit further this water. As you can see, it looks good, does it actually look like water too much? Not really. We need a bit of shine and things like that in it. Let's go to our shading panel. And what I'm going to do is, I'm just going to bring in a few more curves. I'm going to come first of all, to my roughness. Shift surge curve, bring in an RGB curve. Drop that in there, and then let's just turn that down a little bit. And you'll see as we turn it further down, we get a lot more shine off of that rather than that dullness, so I'm just going to put it down to something like that. You can also see the ripples on the around the outside and the ripples in the center look the way that they should do. So they look right now. All right. So now let's grab it pressit, drop it in here, bring it up the other way, and now you'll see that it's really starting to look like water. All right. So let's bring it down a little bit, something like that. Then finally, where you can do if you want to change the color on this is you can press shift day, or you can make it brighter if you want. If you go and search for a gamma, instead, you can drop a gamma in there, and then you can bring the gamma up, make it darker, or make it lighter completely up to you. I think we'll drop a gamma in there and make it A little bit lighter, let's have a look just slightly, something like that. Then one going to do, I'll come down now to my RGB on my opacity. This is the opacity one where the alpha is and you can turn it up now, and now you can see looks a lot more like realistic water. All right, then. There's the actual bucket dumb. There is this first crate d. Now the second crate is going to have exactly the same materials as the first crate and pretty much the crate is going to have the same materials as the barrel as well. There is actually a little cheat here that you can do. If we come over, press tab, and what we're going to do is going to grab both of these, so we'll grab the barrel. Then we'll grab the crate and then finally we'll grab this large crate. Then all you need to do is press control L, and what you can do is you can link actually materials. Link materials. There we go. We can see that we've already got material set up. All we need on the barrel now is just to collect press plus, and we're just going to bring you down and we're going to have the iron dot for the actual sides of it. All right. Let's come to this create first. This one is the easy one. I'm just going to press tab. Grab this one, press A smart UV project. Click, spin them around. A 90, and there we go. Now, let's just change these edges on here because they are clearly not we'll come in L on each of these with edge leg just in case there's any seams. Then I'm just going to come down to the white dark one, click a sign, and there we go. That looks fine. Now the thing with this, I'll actually do the other parts as well, so going all the way around, click a sign. Okay. And there you go. You can see that looks fantastic. Now, the barrel, let's come to the barrel. Grab my barrel, A. Let's first of all, right click and we'll clear all the seams off. It will make it easier. And then what I'll do is I'll press, smart UV project, click Okay, and then I'm going to press A 90, spin all those round. I'm going to make them a little bit bigger as well because they are going to be a little bit too small. Now, the problem I'm looking at is I'm just looking to make sure that these sides. You can see on the sides of them. I'm not actually happy with these because they're actually split up and I don't actually want those to be that way. So what I'm going to do instead is, I'm going to just grab them going all the way around, like so. Just these ones. I think the others should be fine. I'm going to unwrap them just separately because I'm not happy with how they're going. All I'm doing is I'm pressing ship click. And then control click and ship click and control click, like so. And I should once I've done that now, pre able to press you and unwrap and there you go. Now, they've unwrapped much much bear as you can see. Now, I think, let's just make them a little bit smaller. Yeah, that's probably going to look much much better. A, let's try bigger. Now, they look much bead the other way, so I'll just put them back. And then what I'll do is I'll come in now and I'll give them metal. Like so, I do, click a sign, and then let's come to the top now and we'll do the same thing on here. So, I do, click a sign. Now finally, the top. They looking good. Are we happy with those. One thing I'm happy with is these, as you can see, I'm happy with these parts. I'm just going to come in and grab all of these, I'm going to press control plus and then just rewrap these as well. So I'm going to grab them all, press control plus, press, wrap, and then I'm going to spin them around. 90, make them smaller. Yeah. And there we go. They do they look better like that? I'm not actually too sure. I'm going to spin them around the other way. So our 19 I'm not happy with them like that either, so 90. Yeah I think they look better like that. Okay. I'm happy with that. I'm just looking at the underneath, making sure I'm happy. The underneath, you might be able to see it. So what we'll do is we'll just quickly do the other ones as well. We might as well while we're here. And then control plus wrap then spin them around 90 and there we go. All right. They look at B. Now, that's all of those duns. Now we can go to modeling. Let it load up. Then what we'll do now is we'll come in and we'll go to file and save it out first of all. We'll come to our barrels, so we've got a barrel here. We'll just grab all of these and basically we'll put them in our own collection. It actually as soon as you press right click new collection, it will actually unselect them, which is annoying. We'll call them barrels and crates. Like so, and then I'll press B, grab them all, and then I'm going to drop those into my bowels and craze. And finally, I'm going to right click and I'm just making sure the bucket is two parts, so I don't want that. I want to join all of these together. Control J, like so. And the last thing, I just want to check make sure that I've got to smooth ones. You can see on this one. I've not got to smooth on. You can see also that some of those are going the wrong way round. So it's a good job to check that. I don't like these going the wrong way round. I can also check this one. This one is okay. Now, let's first of all, fix this one, so we can see that the bottom ones are going absolutely fine. It's just the top ones here. This one and this one going the wrong way round. Let's come in and grab these like so, go to our UV editing, and then just spin them round so 90, go back to modeling, and now they should be fine. No, they're not fine, and that is because it's just these edges that are actually wrong. Going to look on the inside, and this press control plus, and I'll just spin those round instead so UV editing. And then I'm just going to press 90 hopefully hopefully, they look now tom bar as you can see. They just didn't look right the way we had them. Now I'm happy with that. Now, let's go back to modeling, so they're done, and what I can do is now I can grab all of these. I can right click mark as assets. I can also come to my water my water should be here, and I can grab all of these, and you can see it's not marked as asset so I can mark asset mark that one is. I'm just going to go now quickly to my asset manager. Then what we're going to do is we've got all of them here. And I'm looking at my materials, wondering which materials on in there. I wonder if I grab these three materials and just drop them in there. Will it doesn't actually double them up, so that's a good thing. Basically, I can just come in and grab any of that thing, so I can grab all of these and grab this one, this one, this one because I'm not actually sure where it is. So I'm just making sure that I've got it. All of those like that, put them in my materials. Now I'm going to call to at least my barrel and bucket. And my crates, and I'm just going to drop those into my props. All right. So let's have a look at my props. All my props there I've got my create, large create, my barrel, and where is my buckets here as well. If I bring my bucket out, it's got the water on, so that's great. Now I think I've got pretty much everything, everything there. It's a shame that we can't grab them all and bring them out and then we'll be able to see if we've got everything. But I'm fairly sure everything's there. Anyway, okay let's bring these back now, so I'm just going to pull these back. I'm going to put these into place like so. Double tap the A and go back to modeling. All right. So on the next one, what we're going to do is we're going to make a start on our actual chest. We're going to need two types of chests, really, plus the third one, which will be like cutting half so we can actually make that actual treasure the coins and things like that. That is something that we're working on after we've actually built our chests. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 39. Importing Images as Planes: Welcome back to everyone to Blender and real Engine becoming a dungeon prop artist. We sure are becoming a prop artist because we're really really motion along now. Let's have a look at the next one though the one we want to create here is this one, which is the chest. But we also want to create, if I open up this is this one here as well. We want to make one chest like this, and then we want to basically split off, take the top of it off and have it for the second chest, full of the treasure and things like that. That's what we're going to work on. At the moment, though, we'll focus our attention on this main chest, and then finally, we'll focus on this golden things like that. Let's put that one down. Let me move that one over the left hand side of the screen. Well, before we do that, I did actually forget that we do actually want to put some decals on our crate. What I'm going to do is, I'm just going to move this one out here. I'm going to grab this one and this one, I'm going to press Shift H, just to hide everything out of the way, and then I want to bring in some decals. The first thing though, to bring in decals or the easiest way to do it. Especially on something that's flat like this is best to come in, go to edit preferences, and what we want to do is image as plane. Image and you'll have one that says images planes and you want to actually tick this on. Now, once you've tip this on, it means that you're going to get a new option. If I press one now because remember, as we talked about before, with the actual references when you bring them in, you want to bring in your images plane straight on view. Fire press shift a come down now and you'll see image and you'll see one that says image planes. Now, before we do that, what I want to show you is, we want to bring in some images from our textures, and you can see that we've got all of these decalcire. Now, if I go to let's say this one, you can see that I've got the Eagle crest, the lion crest, the grapes, and things like that, you want to make sure that you can see them before clicking on them. What you want to do is you just want to put this on and now you can see exactly what they're going to come in like. I can see that This is my opacity, my roughness, things like that. I'm not going to worry about any of those yet. What I'm going to do is, I'm just going to click on this, which is the actual base color. Now you'll see that I've brought that in. You'll also see that it's set up a material for me. Now if I press R and x and 90, Here is my actual decal. Now, a little problem that you're going to have with some of the decals, for instance, is that they're not actually going to come onto like this chest perfectly flat or anything like that. But there is a way around that what you can do. I will show you if we bring in, let's say a sphere or something like that. Let's bring in a UV sphere. We're going to put this, make it pretty big, and we're just going to put this over here. Like so. Basically, I want to show you how you can actually make your decals fit around this sphere. Now, just before we do that, that's first of all, shade off this UV sphere, so it's right click shades M. Let's then come back to our actual images plane, and you will notice one thing in that. We can't actually see through this, it's not actually a decal, it's just a plane. So we do need to sort that out. How do we do that? Well, basically, we can go in now because it actually says default material base color. We'll just call this decal and we'll call it eagle. So now we can go in and we can go to a shading panel, and we can bring in now those textures. If I Zoom, you will see that I've got a base color in here, but nothing else. The Alpha is coming from the base color and that's no one because this is we've already got an opacity that's actually going to do that for us. Basically, if I unplug this, I come to my principle, press control shifting t. Then what I want to do is find my eagle now, which is going to be let's have a lock. It's going to be under dungeon additional ornaments, and we've got the eagle crest. Then what we want to do is want to bring in the sogar metallic. We've got a open GL. We've got our opacity and we've got our roughness and let's principle. And there we go. Now we've brought it in and now you can see it's perfectly like a actual decal. It's even got a load of bits that are actually broken off as you can see, and it looks really, really nice. All right. The next problem we've got is we need to make sure that it sits flush against any surface that we want to actually put it on. How do we actually do that? So what we want to do, first of all, is we want to actually tell Blender that he wants to wrap around this sphere. So what I'm going to do is I'm going to come over to my modifiers. And first of all, going to reset the transformation, so control A or transforms set origin to geometry and modifier. And the one we want is Shrim wrap. Now, what does he want to shrink wrap around? This is the target. So if I come and I put this, click on the sphere, you'll see that actually goes straight to the actual sphere because that is why he wants to shrink wrap around. Now the next problem we've got is that it hasn't grain of subdivisions or anything like that to actually wrap around here. I want to do is I want to bring in another modifier and bring bring in a subdivision surface. I'm going to put it on simple. I'm going to turn it up a couple, and now you'll see that I can change the offset and bring it up and it will at least try once I've applied this subdivision, wrap around my sphere like so. Now I can bring it back, bring this. We have the ship barn wrap it around my sphere, and there you go. That is how you can actually put your decals on spheres or on cloth and things like that. It's all basically determine how many subdivisions you've actually got in there. Now we know that. Let's actually go back so we don't want to put it on our sphere. I'm going to take off the stream wrap, so I'm going to take that off. I'm going to keep my subdivisions on. I'm going to put it on something like maybe four, let's have a look how many that is. Let's press control over my subdivision. Let's press tab, and I think that should be enough subdivisions. I'm going to do now is I'm going to take my sphere and delete it, and then going to go to modeling And then what I'm going to do with this is I'm actually going to bring it now. I just want to make a copy of it first. I'm going to press 50, make a copy of it, and then I'm going to press Shift again. Make another copy of it. This one now, I actually don't want to be my decal Eagle, I want it to actually be something else. I'm going to minus this off, click new, and I'm going to call this one D wheat. So I'm going to go back to my shading panel. And then what I'm going to do is I'm going to press control, si te, and I'm going to bring in the wheat one, so we can see we've got grapes, we've got swords, we've got what's the wheat one. Let's bring in all of these. We're going to click I'm not going to click on the ambient occlusion. I don't think I need that. I'm going to click on all of these pen GL, and of course, the opacity and roughness. And let's have a look at that now, and there is my actual wheat as well. All right. So we've got both of these now. They're good to go. And all I'm going to do now is going to shift D. I'm going to bring it over, like so. Now what I'm going to do is I want to put these basically with my materials, so you've actually got your decals just in case you need them because if a pest, you've already got your subusions on. The only thing you've not got on these is a string but you now know how to do that. All right. So now back to modeling, and let's put this one on here. If I come to this one, I'm going to put this one on the front of it, and then I'm just going to decide where we actually want it. Something that's the wrong one. You can see I'm grabbing it through here. Let's move these to the side. They're not actually going to work like that. Let's also check this wet. I'm not sure why it's gone the actual way now. Decals let's see. Is it C through or not. Yeah, it is through. I'm not sure why it's actually done that. But anyway, it is C through. Let's come to this decal first. Let's press one, and now we should be able to see through there. Let's put it right on right about right about there. Now, the other thing you'll notice is as soon as I put this on, we are going to have some problems with it. So I'm going to put it onto here. And then what I'm going to do is I'm going to bring in a modifier, bring in a shrink wrap. And then what I'm going to do is I'm going to click my target as this, and there we go. Now, I just want to change the offset a little bit. Bring it back. Now, the problem with the shrink wrap, using that on anything that's let's say square, anything like that. You'll end up causing yourself a lot more problems. I would say that only use the shrink wrap if you're creating something like a sphere or something like that. Let's turn that shrin wrap off, and let's bring this back now, just flat onto our actual crate like so you can see that looks a tomb like that. All right. I'm happy with that. The one thing I'm not happy with is these lines on here, as you can see, I need to actually cut those away. What I'm going to do is I'm going to press tab. Go in, and I'll just grab this line here. I'm going to grab this line. I'm going to move it up. Now, when you move it up, you're going to change the UVs very slowly gradually, but not enough that you're going to notice. I'm going to press control B, bring it out very gradually and press delete and faces. There we go. We've got rid of that one. Let's come in now and grab this line here, pull it down very slightly, press control B, pull it out, and then delete faces. Finally, then the bottom one. Hold shift and click, bring it down very slightly. Press Control B, put out delete faces tab double tap the A, and there you go. You can see that looks really, really nice. It fits it really good. All right. So I do want to maybe one on the other side, but I think what I'll do is I'll just mirror it over to the other side. I don't think I'm going to have one on top and on the next lesson, we'll just put one on here, some wheat or something like that, which is one we've already got out. All right, everyone. So I hope you enjoyed that. I'm going to save out my file, and I'll see you on the next one. Thanks a lot. Bye bye. 40. Using Decals & Shrink wrap Modifier: Welcome back, everyone to Blender and Unreal Engine becoming a Dungeon prop artist, and this is where we left off. Now, let's just mirror this quickly over to the other side. So what I'm going to do is I'm going to grab this shift ur selected, grab this right clip, Sgenthree D cursor, bring in a mirror, mirror, y, x, and there we go. Now, all I need to do is just pull that out a little bit, which I'm going to do. But first of all, do I want to I think I'll leave it that, so I'll just press control, and then I'll come in and just grab this all the way down, and then just pull it out. Very slightly, like so. Now, it could be, there we go. That's. That's looking pretty good. All right. I'm happy with that. Now, the other thing is, there's no point having all of these on here. All of these. I mean, you might as well just delete them off. I'm just going to grab them all the way down to here. You can see that they've gone all the way up top here. Going to press delete bases like so. I'm going to grab these ones then, all the way down to here, delete, bases like so. All right. So that's that done now, and what I can do is I can join all these up. Join them all up two, your actual this part last because what that means is when you join them up, you can see now a pressed dots still called large create and that's exactly what we want. All right. So now let's come to this part here. Again, I don't think because of square, we're actually going to be using the shrink modify or anything like that. What I would like to see though is that it's actually C through and I'm unsure as to why it only shows opacity on here, but either way, let's make it a little bit smaller. So let's rotate it on the y, y. Let's pull it down and let's finally make it a little bit bigger just so it fits a little bit be bit better than what it did. Now, you will see that we're going to have a problem on this one in that, it's not actually going to be straight when we try and break the parts. You can see when I cut this away, it's not going to be straight. But we can actually get around that. What we're going to do is press tab, I'm going to come over now and go to mesh bsectm going to bsect it through following this line. So if I come in now, Okay. Click on this line here. You'll see the great thing about that is that it's highlighted, which means I can just press control B now, pull it out very slightly, press delete, faces, and now move on to the next one. Just make sure you press A to grab everything, mesh, bisect, pull it over and you can actually as well, when you've got it over here, press the space bar, and you can also move it up and down, which is really, really handy to know. Let's drop it there. Let's press Control B, pull it out. Like so very, very slightly, Crisled faces. And now let's move on to the next one. So again, mesh, bisect. Pull it out press control B, press delete bases and there we go. Double tap a, and there is your actual decal on these pieces of wood. Now the thing is as well that on this one, again, we've got the same problem in that. It goes all the way over there. We don't really want that. What we're going to do is cut it on wireframe, and I'm going to cut this away because we can see that this is where it should be cut away and we've got all of this space that mine actually interfere with things like shadows and things like that. You can see that where we need to cut away is here because you can see that is the line. We're going to come in again, mesh, bsect I'm going to grab this line. Pull it over. What I'm going to do this time is I'm going to go to either clear inner or clear outer, so you can see the outer is actually fix that. Now, let's do the line going down here. Mesh bisect straight down here, like so, and you can see it cut it the right way. Mesh, bisect straight down here. So you can see I need to swap them over. And then finally, last one, so mesh, bisect straight down here. Like so. All right. So now let's press said and we'll also press tab. We'll go back then to render view and see what that looks like, making sure we're happy with it, which I am. Now I can put on material because I know that's absolutely fine, even though it's black for whatever reason. I'm still not sure what it is. I'm just going to check. Yeah, I don't actually know why that's why the offer is not showing up in material view. But anyway, so let's come to this one. We'll press shift, sa selected. And then what we're going to do now is add in a mirror. So add modifier, we'll bring in a mirror, put it on the y, takeaway the x, and shod's not there. Where is it? Oh, it's. We mirrored the crate. Let's mirror what we want to mirror. Right click Sg 23d cursor and modify it, mirror on the y, takeaway the x and there we go. That's looking fine now. I think I need to pull it back a little bit, but if you want to have it all the way around all you need to do is press shift, Z 90 and hopefully that's going to work. Now, let's just put it on the render view and just make sure that we're happy with it, tap the A, and there we go. I'm just making sure that they're actually stuck on there properly. I think they are. Yeah, I think I'm actually happy with how that logs. All right. Let's apply the mirror with control A. Let's now Come up, and what I want to do now is I need to join these together first. I'm going to actually grab it like so, and what I'm going to do is going to come to convert mesh, and then grab all of these, both of these, grab my create last conch J, and there we go. Let's press tag then bring everything back now. So let it load up a little bit. There we go. Now finally can pull macrate back into place. Now what I'm hoping is that my actual asset manager has also been updated. If I bring this in, yes, it has. It's actually updated it. That's really cool. Let's see the large crate, there we go. Yeah, they've been updated. Really really cool. Finally, then, let's put these in place. If we come up here, materials, we want to grab both of these because they're already done for us, bring them over and then I'm going to put them into place. Then I'm going to go now to all button and then what I also need to do is I need to make sure that one, these are named, which they're not. So I want to be Eagle decal. So Eagle decal. And then the other one will be what decal. And remember, you've got a lot of decals to choose from. So you might want to, you know, bring them all in if you want to. Then one want to do is I'm going to grab both of these, and I'm going to right click and I'm going to mark as asset and there we go. I've got an Eagle decal, a we decal, and I'm going to put those into my. In fact, I will actually make a new one. I'll just click the plus and I'll call it decals. Then you can actually do the same. Let's drop both of these into our decals because everything's set up on these now, so that's really good. Now we can just click file, we can click Save and there we go. All right. Everything's done in there. I'm looking at my parts. Everything's done. Finally, now, let's close all this up. Just so we can see what we've got now, like so, and then let's hide our materials out the way again. The decals as well should be in the materials. I'll just press a little dot, and I'm just going to drag them and put them in the materials as well. There we go. It was a long one to actually get the decals done, but you now know actually how to do decals, and that's going to help you in the rest of the course actually because you're going to have a lot of places where you're going to have blood. You know that if you need to bend them around things that you need to use the Shrike wrap. I've showed you how to put it against the surface and things like that, and I've also showed you how to subdivide it to get more subdivisions to actually put it around things. That's really going to help in the future, like I say, with the plot with the blood and things like that. And any future builds that you might actually have. Now what we'll do is we'll actually go to Modeling. We'll do one more quick save, and then what we'll do on the next lesson is. We'll definitely be starting those treasure chests. All right, everyone, hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 41. Creating our first Chest Prop: Welcome back, everyone to Blender and nary Engine becoming a dungeon artist, and this is where we left off. Now, same as always, cursor in the center. Shift cursor to world origin. And now let's create both of those treasures chest. Sorry. Shift, let's bring in first of all, a cube. Let's make here the right size. I'm also going to put it onto object mode. S and X, let's pull it out, so that actually looks a good size for a treasure chest. Now, let's pull the top of it up, so I'm going to grab the top of this. I'm going to pull it up so now I want to do is round it off. I'm just going to come, grab both edges, press the tab Control A A transform clip origin geometry, and now press Control B and finally, let's turn up. The bevels, so that it's nice and round for us. All right. That's looking pretty nice as a treasure chest. Now I want to do is we want to actually use a lot of these parts. As I said, when I model, I always tend to try and use all of the parts basically makes it much easier for me. The first thing I'm going to do is I'm just thinking that this might be a little bit too high. I think I might make it a little bit smaller This is the time when you should be altering whenever you want to alter. SM's pull it out a little bit. Yeah. I think that's looking a little bit more the right size, one thing I would say is that grab the bomb, pull it up very slightly. Press one, and let's put it on the ground plane, and there we go. Is it going to be able to carry this? It should be carried by two people, this one, I mean, it's a big actual treasure chest, so we'll have it at that size. All right. Now let's come in and start actually modeling this. Shifting click Control B, and just turn down then the amount of segments you have, something like that. Remember, this now is going to be the metal part. Also remember that we want to split this in two. We want this part here split off from the rest of it because we want to be able to make it so that we can put some treasure in this. The first thing I want to do then is bring in those little bars that go around. So I'm going to do is I'm going to press control, two, left click, right click and I'm going to bring them out. S and X pull them out to the size that you actually want them. Something like that size should be absolutely fine. And then control again, two left click, right click. Now, these ones here, we've already got this bar going out. These ones haven't got bar. The way I want to do that is to pull them out a little bit first, so x and then press control B and pull them out. They're round about the same size as this one here. Now, you might want to pull them out a little bit more. S and X, we can do that. The problem you might have is that you're going to alter how big these actually are. To get around that, you can actually pull them out, so S X pull them out, and then come in, just grab the edges going around here, press S and X, and then you should be able to pull them more into place like so, and that looks really good. Now, what we need is, we need one that goes around the bottom as well, so control of left drop it on the bottom leg. Now finally, we need also a ball that goes around each of these. If I come in and grab this one and this one, this one and this one, and then all I want to do. I'm just making sure that that's actually right because you can see here I do, it's going all the way down to there on both of those. That's absolutely fine because the breakaway point for us is going to be this part here. I'm just seeing here that I've not actually got a edge loop that goes from each of those, but I think that will be fine. I'm going to do now going to press and once I press you can see it brings it in, we need to just bring it in enough so it doesn't overlap. But it still looks as though it's quite chunky. That looks about right for me. Now what I would do is I would actually probably duplicate this. I think it's the best idea to duplicate it and then bring this out as a solidify. Let's see if we can actually do that. I'm going to actually press shift. Hide the one I had. Come back to this one, and now let's get rid of all of these things. All of these things that we don't need, which will be all of these because all of these actually are going to be the actual wood. All of these and I'm looking all the way down to here. This one, down to here. I'm just looking at where this. Maybe this should be the bar as well going up to there. No, actually, I think you'll be fine like this, so we'll keep it like that. So I'll come down to here. And then one going to do is I'm just thinking, before I do that, I can delete this off, so I'm going to delete it off. So delete faces. We should be left with this. And now I'll do is I'll shift click this, Shift click this, press the yborn. Press it again, by the way, if it's going in all on separate one, so press the yeborn again, bring it in. Press delete and faces, and you should be left with something like that. Now what we want to do is we want to also do this part here. So I'm going to come in and delete faces like so. Now one thing is when I bring this in, you can see that I'm probably going to have some problems with the solidify. Let's see if we actually have some problems. Let's get away with it. What I'm going to do is on a press control or transform diligent geometry, add modify it, bring in a solidify and then let's put even thickness on and let's bring it out so Okay. And let's see what that actually looks like. And you see, it's actually done a really good job of doing that. So yes, I'm really, really happy with how that looks. Maybe it's a little bit too thick, so let's bring it back a little bit, something like that. Now what we'll do is we'll press oltage and we'll bring back our wood, and you can see just how easy that was to actually do. Now, with the wood, we might as well just come in now and separate all of these other parts from the main part of that structure. For instance, if I come in and I grab this one and this one and this one, the front of them, so, the back of them, so the underneath of them, so all of these going across. And finally, these ones going across here. I'm going to control click Shift click the bottom. Control click the other side. Shift click Control click, like so. And sometimes that doesn't work, I don't know why. Then what we want to do is going to press y, G, and you should have something like that. Now, what you want to do is you want to separate that off now, so you want to press P, selection, separate it off. Then what you want to do is you want to grab it, hide it out the way, grab this main part, hide it out the way, and you should be left with this, which you don't actually need. We're just going to delete that other way. Now, if I press saltaH now and bring everything back, you can see this is exactly what we're left with. Now what we want to do is we want to split all of these off so that we can make the actual wooden part. What I'm going to do is I'm going to press Shift H, bring everything back. Now I want to do is create these to make sure they're wooden parts. Now, you can see that we do have still some problems with them. These parts here, for instance, we don't actually need those on. We don't need these parts on here, for instance. I'm just going to bring it back just to make sure you can see that this is where they should be up to up to here. If I hide this again, you can see that these parts here, I actually need, but I don't actually need these little parts in here. I'm just going to come in and delete those off, first of all, delete these and these delete places like so. In the bottom parts, well, you can see that we've bits of wood going in the other way. Should it be going this way, I think they're more likely to be going that way. So what I'll do is I'll press control bring in some edge loops, left click right, clip, and then we go wooden slats going this way. Now, We've got some wooden slats going this way and this way, which we haven't grow. Now, what we want to do is we want to make sure that the wooden slats going across here are pretty similar to the ones going across here. So we want to make sure that's how they go. If we come in and press control, two left click right click and let me just do that again because I think I actually messed up there. Two click right clip, and then we can come over here and we can come over here and we can press control. Left click, right click and just work your way around then. So two Left click, right click. Even ran to this part here as well. So two left click right click. Two you can see actually that this way of making a chess is actually a really quick way of doing it. Left click, right click. Now, you will see that we do have some problems now in this part here. We need to get rid of these. We don't actually need these parts. So I'm just going to check as well. So again, I'm going to press Altag and see if we could, we can't get rid of those parts, actually, those little side piece because they do come down to it. You'll notice if I actually hide this out of the way, you can see that let's actually try. Let's see if we can. We might be able to get rid of him. Let's press faces. Let's press Alt, bring it back. Yeah, actually we can so that makes it even easier for us. All right. So now let's make our planks of wood once we've done these bits. So I'm just going to hide this part other the way again. I'm going to come back to this part. And then what I'm going to do is I'm going to come with my vote to select select these two, J and join them. Now, I'm going to select these two, J, and join them all. And finally, let's do this one over here, and then we should have all of our slats of wood, which is absolutely great. Now we've got everything that we actually need to start building this. Now, again, what we should do now is we should come in and split everything off. I'm going to come in, split everything off. First of all, I'm going to press y, G, make sure it's all split off, L and how hide them out of the way. Now, let's come to our next part, so I'm going to do them both at the same time. So Okay. And y and we missed one there, so you can see y H and let's now come to these parts here. If I grab this one and this one, I compress y, H, have them out the way. Now this one here. I'm just going to go up every other one like so. H, the way. Now, if I bring everything back, everything now should be done correctly. Now I can do is I can press Control A, all transforms right. Origin to geometry. And finally, now, let's bring in a solidify. Let's put it on even thickness. Let's bring it out. Let's bring a little bit thicker. Now finally, let's bring in as well, Al. Let's bring in a bevel. Let's press age the moments of truth double tap the A and there you go. There is a chest that looks really nice already. Now, the problem you're going to have is that we can't actually do anything with this yet because obviously, we've got all of these things on. I'm happy though with the bevel on this. I'm just looking at how far the edges come up and you can see that they're a little bit out, so we need to actually make these parts a little bit bigger. If I come in, I grab everything and I just make them just very slightly bigger so you'll notice now they fit much much better. If I double tap the A now, that looks much much better. I'm looking neathing around. Okay, so I'm happy with that. The ones that might need to just alter are these ones here, as you can see, they're still not the right size. The ones in the bombs and the sides and things like that, they all look okay. It's just these ones here. What I'm going to do is, I'm just going to quickly come in and grab all of these. Now, you can see I'm having a bit of trouble grabbing them as well. I'm going to press. In fact, what I might as well do is I might as well grab them after, actually, I might as well apply everything. I'm just going to grab both of these. I'm going to go to object. I'm going to come down and I'm going to convert to mesh. All right. What we'll do then now? As you can see, everything is mesh now. What we'll do on the next one is, we'll grab these, we'll make them a little bit bigger just so they fit a little bit better, and then what we'll do is we'll start modifying and adding the other bits to this actual chest. All everyone. I hope you enjoyed that and I'll see you on the next one. Thanks a lot. Bye bye. 42. Working with Bevel Shapes: Well, everyone, to Blender and real gone, become a dungeon prop master, and this is where we left off. Now, once there is, as I said, I want to come to this one first, right click shades move. Let's bring to smooth, and let's also control A all transforms, right click Set origin geometry. And now let's bring in all modifier. Let's actually have a Is that too much? Let's turn it down and put it on 0.5, something like that. I think that's still too. No 0.3. Yeah, I think that's actually going to look there because this is meal after all, so we do need to take that into account. Okay, so I'm happy with how that looks. The one thing probably not so happy with is maybe this ridge on here, maybe I need to just turn up It's not going to get rid of that actually because it's from the bevel. What we can do instead is, if you're not happy with those is you can just basically bevel them off. If you come in and grab each of these. All of these ones that you're not happy with and basically just press Control B. Now, actually, I think, I'm just going to go all the way through them. I'm going to press Shift click going all the way around them, like so. Shift click and then control Bevel them off, and there you go, you can see they look better than what they did before. All right. I'm happy with that. Now what I need to do is I just need to bring these out as we talked about. I I come in now. I'm a should, this one is still not go's have a look. As it actually got the bevel on there. Think just looking. Yes, it has. We can grab each of these now. Much easier to grab because we applied that solidify. Then what we'll do is we'll pull all of these out. I'm thinking that these also should be pulled out because you can see it a tiny, tiny sliver of a gap. I'm thinking that that shouldn't be selected. I'm just making sure I've got all the one selected like so, and now I'm going to do is I'm going to, I think pull them out sorry on medium point first. If I press sensed just going to pull it up and then I'm going to pull it down so that they fit much, much better. Then one is I'm going to go to individual origins, and I'm actually going to pull them out the other way. Now you can see that I did mess up there, I pulled all of these up. Let's do the other bit first. Let's grab all of these. Instead of doing that, what we'll do is we'll pull them out this way. I've just gone back and we just basically start again, I'm going to press S and X, pull them out. You can see here that I've got one that I shouldn't actually grab, so I'm going to press Shift L to deselect it. Let's try that again there. So I'm going to press S and X, pull them out, like so, and now they're fitting much bare. Now finally, we need to pull them up. S and Z, pull them up and making sure that they fit in those creases. Now you can see that they're still not fitting on these. So what I'm going to do is I'm going to press one. I'm going to press wire frame, double tap the A, and then I'm going to do is I'm just going to come in and grab all of these ones, B. Grab them all Z solid, and now let's finally pull these down just a little bit, just so they fit a little bit bare into place. All right. That's looking much better now. That is basically the main part of the chest due. Now, we click on these, you'll see that we're able now to take away this part as well. But first of all, let's actually bring in our actual log. So let's now make the little lock and we'll also create the hinges on the actual back. All right. So the little log, let's come in and first of all, we've got our cursor in the center. Anyway, this allows absolutely fine. Let's create a cube. We'll do it with a cube actually. I'll do is I'll bring the cube down. I'll get it to be the right solve size first. Bring it out. I'll press S and y, bring it back. And you can see at the moment that I've actually got a bevel on this. I don't think I actually won that on at the moment so what we do is just separate out. Come on, take the bevel off. I just want that off just so I can see what I'm actually doing. Press control le transforms, right click origin geometry, and then I can get it in the right place that I want it. S and X, pull it down, and then S and pull it round, put it into place, something like that. I think that should be fine. And then finally grab this phase and pull it back. Now I'm going to do this. I'm just going to bevel off the top edges first. Maybe a little bit more, and then let's come in. Grab this edge and this edge, that's press control B, and there we go. That's that part done. Now we need the center part. Well, going into the center part, I'm going to press control B. I'm going to bring them over. But what I'm actually going to do now is I'm going to change the shape of this. If I change the shape, turn up the segments to three or something and change the shape this way, and now you can see that's looking much much better. Albeit, it's too much. What I want to do is press control. Control. Let's do it again. There we go. And the press control B. And there we go. Now we can see that we don't have to do it that much. And there we go. That looks actually really, really nice. Now, let's actually To stop it actually going that far up. If you don't want it to go that far up, what we can do instead is we can either press control B because I want it coming to there and going further in. Now, what I need to do to do that is I need to press control law and bring in an edge loop. I can't actually bring in an edge loop at the moment, so I press control B once more, I should be able to change the width as well. That's going to help me do it instead of bringing an edge loop. Something like that I think looks a little bit better, maybe just a little bit less. I'm going to bring your Yeah, like that. That looks absolutely fine. All right. Now let's bring in the top part. I'm going to come in, grab all of this, press the born, bring it in. So, press the born to bring it out like so. Now finally, we want that actual part in the center for the actual key. What I'm going to do is I'm going to press, bring it in. And then we're going to press S and X, then S and Z bring it up, and next, and there we go. Now we can press, pull it back, and there's a key as well. That's looking fantastic. All right. I'm really happy with that. I just want to make sure my cavities are still on. Just having a bit trouble seeing it there. Now, let's come round to this side. I can see here as well as I'm going that I need to pull these out as well. I'm going to fix those while I'm here. Come round to this side as well. I'm just going to pull them out, S and Z pull them up a little bit, probably maybe not with S and Z maybe just with the S b pull them up. I'm just wondering, that is a lot there, but we've pulled them out too much as you can see. Now, these are actually crossing over. I need to just go back and see these ones here. You can see that they're crossing over and I don't want that, so I just need to be careful of that. So Making some final adjustments with fixing things just to make sure it's okay. You can see that they're crossing over here. I don't want that, so I need to make sure that they're on individual origins and send, and there we go, we can fix those so you can see that now looks. A tomb. Now, I'm just looking at these and making sure they're okay and making sure that my shading smooth is on with Autosmooth then I'm just going to come round now to these. I can see that these are a little bit out as well. Yeah, we'll fix those first. We'll do the boons first, actually. So I'll grab all of these. I say, and then, bring them out a little bit, and then we'll do the same on this one now. L L and L, come round to this side, L and L, and then S hold them out. Just a little bit. There we go. Now, that's perfect. Now let's do the backs of these. What I'm going to do is again, I've got my cursor in the center. Shift A, let's bring in a cube. Let's pull it down. You'd be like why are we using a cube to create a hinge. Once I put this in, but you'll see exactly why I do it this way because it is the easiest way. Press control want to go to the back. Let's come to the back of here, and I want it coming from round about here. Make it a little bit smaller. Then let's bring it in td so let's put it there. Control A. Okay. All transforms dry clicks origin, geometry. Now finally, let's level off all of the edges going along here. If I press shift and click, press Control B, Now, that's not well one, as you can see, or is it because actually, that's really looking really nice. I might actually keep that. Just in case you want that have the same as what I've got here. Yeah, I think I'm going to keep that actually looks so good. I'm going to press tab. Sometimes that happens. Sometimes it happens. Let's pull this out. Let's also pull it back because I'm not going to need the whole thing, so I'm just going to need this pace of flat area because I'm doing this twice, I might as well sort it out. Control plus, control plus, delete faces. Now all I want to do is just fill in this back pace. I'm going to grab it. On here, shifting click, and I'm going to press F just to fill it in. And now I'm just going to push it back into place. Now I want to do is create the in. So I'm going to come in again. Control R three, left click, right click. Control B So bring down then the amount of segments, and then all I'm going to do is press enter altern I'm going to bring those in to where I need to, which is probably going to be something like that. Let's have a look at what that looks like. And yet, they look a really, really nice inch. All right, so let's put this back now onto here, so it's fitting in place. And just looking actually at this back bit. Just making sure that I'm happy with it. Scoring around. Yeah, I think that's going to be okay. So I'm going to pull it back into place like and now I'm going to do is I'm going to put this over the other side. Might as well use my cursor over here, right click origins three the cursor, I modify it, and we're going to bring in a mirror, and there we go. Control A Over the actual mirror, and there we go. Do we want another one? That's the question we need to ask ourselves. I think at the moment, it should be absolutely fine. Now, let's think about the handles on the next lesson. A we've got to do is the handles, and then what we'll do is we'll split this treasure chest in half, and then we should be able to do the smaller chest, and then we'll start filling this with the gold coins and things like that. All right, everyone. So let's save it out and I'll see on next one. Thanks a lot. Bye bye. 43. Creating Handles & Locks: Welcome back everyone to the lender and real engine, becoming a dungeon prop artist, and this is where we left off. Now, let's make our actual handles. What I'm going to do is I'm going to first of all, bring in well, first of all, I'll make the little hinge that goes on them that comes under here, fire press shift I'll bring in a que and we'll pretty much try to make it a little bit like what we did with the actual hinges just a minute ago. Let's bring it up, bring it up to here and up to here, like so, and then pull it out, S and y, pull it out. So now let's level it off. We're going to come to face leg, grab all the faces going around. Press control B and we're going to actually bring them in. One, two, three, like so, and there we go. We've got the same kind of look as what we had before. What I'm going to do is I'm also probably going to squish this up a little bit. S and bring it in a little bit. I'm also as well, I'm going to grab both of these sides. I'm going to press to invert them. Then what I'm going to do is I'm going to press alternans and just bring them in now because that's where the handles are going to actually be. Finally, then I just want to bring the bottom of these down a little bit. I'm going to invert again, and then, and then S and X, bring it in. Sorry, bring it in. So then I think I'm not happy with how that looks. I don't think so I'm just going to go back and not do it that way. Instead, what I'll do is I'll level it off again. So if I press now, bring it down and then come and try and level this off with control B, sure be able to get much be look for it. All right. So that's looking a bit be. I just need to change now the shape, and maybe The way it looks, let's pull it up as well. Yeah. That looks tub. All right. So now we just need to get rid of the bags because we don't need that back on there. So I'm going to come in, grab the back face. Control plus all the way up actually to here. Might as well even do it to the delete faces, and there you go. Now, let's pull this back into place like so now we need to do is the actual handle. Now, the handle, we might as well create some mesh. What I'm going to do is I'm just going to I think I'll bring in a bring in a circle first. Bring in a circle. Let's leave that on 16. It should be fine. Y 90. Let's press one, sorry, three. Let's make it smaller and it is control three, it would be. Control three. Let's bring it all the way out. Okay. Let's put it into place where it's going to go, so we're going to need it much, much smaller. We can see we've not got it right in there yet. So let's bring these down a little bit. So they can see it's going to fit in a little bit better. Now let's actually delete these other ways. Delete vertices and you should end up with something like this. I'm just wondering if I should just delete the center vert I think delete vertices. Now let's actually turn this into some curve. Let's go to object, convert to curve, and let's turn of the depth. So All right. Now, let's give it some shape. So if I press Control three, I'm going to come to these sides. What I'm going to do is I'm going to put this on to smooth, and I'm going to press S and y and start bringing them in. Now, I need to find where it's actually on, but for some reason. It's actually working. Control click that origins geometry. Now if I press G, it's actually working now as you can see, I'm going to press Control three and then grab this one and then press S and X or Y. There we go. I'm just wondering though why It doesn't seem to work when it only seems to work with G. It doesn't seem to work with curves, so I can't actually bring it in. I'm just going to, that's why it's because we've not grow a medium point. Now think, there we go. There we go, just being a little bit silly. Now we can actually create that shape that we want. I'm going to press control three, and I'm going to bring this down a little bit, yeah, that's looking much much better as you can see. Now the thing is, I'm going to also bring in this bit down a little bit smaller. So if I press old test, I can bring it in a little bit smaller, and we'll also put an end on there, just to finish it off really nice. I'll show you how to do that. All right. So now, Let's shape smooth, so you can see that's what it's going to look like. Let's then come over, object, convert to mesh. Then what we'll do is now we'll come in. We'll grab this bone one, control B pull it out, like so. Then what I'll do is, I'll just turn down s if I want that like that. I actually like it where it's actually slanted up a little bit. And then what we'll do is teres without proportion it. L then we'll just bring in to smooth, turn it up a little bit. Or a lot, something like that. I probably going to smooth the whole thing off. Instead of doing that, I'll just put on 30, like so. Then what I'll do is I'll shade all of this smooth. I'll just grab it all. And I'll just grow it all like that and then I will just shade smooth. And that's not going to work either. So I'm going to have to turn this up a little bit. I'm just going to turn it off just to where I want it. Something like that. Now, the problems you're going to have there is when you join this up, it's not actually going to be smoothed off enough. So we might have to instead of doing that, I'm going to have to put it back on 30 I'm going to have to have up if I can actually subdivide this subdivision surface, You can see now it's made it to smoother, but we have lost some of the definition of this. I can come in and grab it and then test, bring it out, and now you'll see that's actually looking pretty nice now like that. Now what I can actually do is I can come in, apply my subdivision, so control and now I can go in and I can see a shop going around each of these. So, right click, Mark sharp and there you go. That is looking a lot there. Shift click Shift click, right click, mark shop there we go. That is giving us some definition now. That looks really nice. And now I can put it into place. L that is what it should look like. That is what you should look like as well. The only thing is that we need to pull them up a little bit because the moment that we're hanging out and they also need to make it a little bit wider with S and Y because of the moment that handles not improperly. All right. Let's have a look at that. That looks fantastic. Now, let's put that on the other side. If I grab this one and this one, and I'll press Control J. I don't need to bevel these off because they're very small, so it's not actually worth it. Then what I'll do is I'll put on auto smooth like so. Then what I'll do now is I'll right click gen 23d cursor, add modifier, and then let's add in a mirror. Now then I'll pray over the other side. Let's apply that now what we can do is we can join all of this up together. If I join all of this. Well do instead of messing around with all the modifiers, we'll do what we normally do in that object convert to mesh. Now finally, control J, and there you go. There is the chest finish. Finally. All right. So now let's grab this chest, move it over this side, shift each, duplicate it, and now we're going to do is just come in and get rid of some of the parts. So I'm going to first of all, come in and get rid of all these. I don't actually want them. Like so. And you can see that. I grabbed them all going down to that and I don't want that, so I'm just going to press controls. I'm just going to take my time a little bit more rather than doing that. Okay, and delete vertices. You're going to end up with something like that. Now, what you want to do is shift and click going around the sides of it, not with that with face old shift click so then the same on this one. You can see here, I've got the wrong one, I think, same on this one, same on this one, same on this one, and delete and faces. Now we can come in and we can grab all of these and we can go delete. Vss like so. All right. That is the halfway point of it. Now, let's see if I can actually also get rid of these, so I'm going to come in and we're just basically fixing this up. Remember, you're not going to be able to see in here anyway because it's going to be the treasure in there. Control plus, delete and faces, and there we go. We've got pretty much everything that we need for these parts, what we need to do now is just fix all of these little parts, and then we can finally fill this in and make sure it looks a really really nice chest. All right, everyone, so I hope you enjoyed that. I'm going to save it out as normal and I'll see you on the next one. Thanks, lot. Bye bye. Oh. 44. Creating the Small Chest Prop: Welcome back everyone to Blender and real engine, becoming a dungeon artist. Now, we have got a problem, as you can see, we've got these little parts here, and I basically want to get rid of those and fill all of these parts in. So these are kind of fiddly just to get hold of, really. I think maybe we could do this the easier way. If I press one and look at this front view on, I think maybe I could probably get away with grabbing the mole like this. So if I press said, going to wire frame, and then what I'm going to do is, I'm just going to be very careful. Coming down like this, and I'm going to press delete and faces, and then I'm going to do the same on this part here. Okay. Here and you can see I missed it because it didn't quite come far enough down. Jaws down to here and delete and faces, and there we go. Now, the one part that I have missed, I think is this back part here. I'm going to press said solid, and I'm going to delete faces. The reason I've deleted the face there, by the way, is because now I can actually go across and fill all this in at the same time. What do I mean by that? I mean that I should delete this one as well, is what I mean. Grab this one, control plus, delete faces, and there we go. Now, let's fill this in shift click Shift click Altern fill it in. Now finally, let's bring it in a little bit as well. If I grab them going all the way around, and then enter altern bring it in a little bit, bearing in mind that these top corners here aren't actually going into well. Let me have a look at this again. Going to have a look because it's got a bevel on, it is making it a little bit difficult for us. What we need to do is we need to come in and then we need to fix those overlapping ones. I'm going to make sure that I've not actually got my extrude on. Now what I'm going to do is going to press again and then alternS and bring it in. We're only going to be able to bring in very slightly, as you can see, because those over here need to be joined together now. Let's go in. I'm just going to check my mesh on this topic. We can see we've got a fair few problems. Let's see if we join this one and this one together. What we're going to do is we're going to press right click. Come down, merge at center. You can see that's actually fix that. Now, we are going to have a problem with the others. But we've got a special button that we can press. I click both of these, press Shift, you can actually repeat the last process that you did. Now you can see that they're looking much much better. Let's now do the same on here. Shift and let's come do the same on here, shift. Now we need to do is we need to go underneath. Same thing again, shift, and there we go. And we'll just keep rejoining them in the center, and then all we need to do is actually pull them out. So I'm just going to grab all of these with shift. Shift, and there you go. All right. That's looking a lot better apart from the fact that they're going in a little bit, which I don't like. So now I just want to fix those. Well, that is relatively easy to fix anyway because we can just use medium point. We go over the top and press S and y and say that brought them in now, and now they're pretty flush. So now press, frame, solid, Double top the. There we go. Now, I'm happy with that. The only thing I'm not happy with is all of this mess around here. It's really not actually good to have it like that. Instead, what we should do is we should just go in, grab it going all the way around here if we can. Control click in all the way around, like so. Then what we'll do is we'll mark a seam, all the way around to here, and then ship click Control click all the way around. Mark in two seams And the reason we're going to do that is because now we can actually come in, grab this with L and it should only select up to there. Now we can do so we can press delete and we can click on faces, and now we can just rejoin all that because at the moment, we've got a lot of problems with the mesh, and we don't really want that. If I now slick slick te, you can just see how much cleaner that actually looks, and that's much better now. All right. I'm really happy with how that looks. Now, that's both of those done now. What we can do now is we can make a start on the other ones. I I pull up the actual where is it this one here. This one is a kind of table type chest. So make sure that when you create this one, you just imagine it as a much, much smaller chest. All right. So now what I'll do is I'll put that over that side, and then I'll bring in a new chest. I'll just move this over, like so. Now we've got a cursor in the center, Shift A, bring in a cube, make it much smaller. Still wants to be a little bit more of a rectangle, like so. Put it up on the ground plane. And then what I'll do is I'll pull it up now, so I'm going to press on the top of it. Pull it up S, y, bring it together, and there we go. Now we're going to do exactly the same thing as what we did with the other one. I'm going to first of all level this off. Sorry, shift click Control B, and we certainly don't want to bevel like that, so I'm going to put it on one. I'm going to actually we don't need to reset anything else. Actually, that should be absolutely fine. Now I want to do is bring in some more solutes. Control two left click, right click S and X, bring them out. And then the bottom, control of, bring it down, like so, and I'm looking now where the sides. Maybe this ones to come in, so we'll do the same thing as what we did in the other one. So I Jo going to bring this in. I'm just wondering if it's worth actually bringing it in because sometimes it's actually not worth bringing it in because this is going to be metal. Yeah, we will. We'll bring them in. So we'll bring them in. So. Yeah, like that. I think that looks pretty good. All right. We'll also mark a seam on those, mark like so. Then what we'll do is we'll also mark a seam on these parts as well and the underneath, so Control mark same. Now let's bring in this part in, so I'm thinking from here to here that the eye born bring it in. So we'll grab it going all the way around now. Hold shift click going all the way around. Right click, Mark. All right. That should be fine on there. That should be fine on there. That should be fine on there. Now if I come in, I should be able to just grab all of this going around here. I should be split it off with y and then P selection like so. Now, let's come and grab this middle part and just separate it off. Now, the one thing I can see for bringing that back is that this goes all the way down to here, and, actually, we could probably do it like that. Act it looks actually good like that, so we'll do it. What I'm looking at is this is a bigger part of Ml than this part, but I think it will be okay. I'll just hide this part of the way again. I'll press control or transform directly, Sargen geometry, and now what we'll do is we'll bring in our solidify even thickness on, and we'll bring it outwards, like so. And then what I'll do is I'll press Tage, I'm just looking if I'm happy with that, I'm going to press age. Yeah. Thank A. I'm going to grab this one now. I'm going to make it a little bit bigger like so. I'm just going to make sure everything fits because at the moment, as you can see, we're bringing it out and it's just bringing it out and I'll bring it out to the same level, so we don't really want that. What we want to do is want to grab everything, make sure that we're on individual origins and then bring it out because then that's going to make everything fit better like so. That's much easier to do it that way. All right. So now we need to do is we need to bring in some edge loop. Control two flick, click. Let's do the other side, two. Left click, right click. Now's work on the bottom, three. Three and then just three on this one because it is a smaller one, and then three now we've just got the underneath. Let's do that. Three. Now these bits here. These bits on here, can I get away? I can. That's really handy. I'll put in just one. That's made it really easy for me. Now, the one thing I should have done actually while I was doing that is just mark a seam on everyone. It would have made it quicker instead now. I'm just going to have to go around each one, making a seam. Ready to actually split them off. Right click mark seam. Now finally, let's split these off. I'm going to a thinking I think all these spliff anyway. If I just come in and grab them like this, they should all be split off already, which is going to make it easier for me. Let's grab them all going down like that. You can see here that I didn't mark seam on this or do those ones in minutes. I'm going to press y and now we'll do this one. So what I'm going to do is, I'm just going to grab both of these G, split them. Now, let's see if we grab all of these. We press tab, control ale transforms. Click origins geometry. We bring in a solidify. Let's bring in a solidify. We'll bring in a bevel modifier on top of that, and there we go. Real, really simple stuff to get those all in. Now finally, what I want to do is I want to turn down the thickness of the bevel. I'm going to put in no point on all three, like so, and they look fantastic. Really nice. Okay. That's basically near enough done already with this one. Now, what you could do if you want to is you could put some more edge loops in here and really batter this up a little bit. I don't think we're going to do that. I think I'm actually happy with how it looks. All right. So what I'm going to do now is I'm going to apply all of those modifier. I'm going to grab it all. I'm going to come now to object, convert, mesh, and apply a more, and then press control B. Now finally, the last thing I want to do is I just want to raise up just this top. F pressed, just going to bring it up. Like that, and I think that looks a lot better. One thing I did forget to do is I forgot to grab all of this. I'm just going to come in once more. I'm going to press P selection, grab it again, control, or transonrcli surgeon geometry, and I forgot to actually bring in a bevel, so I need to bring that in. So I'm going to bring this down to 0.3, something like that. I'm just looking to make sure That's going to look okay. The problem we've got is this top part, I think. I think I should maybe bring it in a little bit, I think. I'm just going to try bringing this in S and y. I think that's just going to look at tumba like that. All right. Let's apply that. Let's join it together with Control J. Let's save out our work, and I'll see you on the next one, everyone. Thanks a lot. Bye bye. 45. Finishing the Chest Modelling: Welcome back, everyone to Blender and Unreal engine becoming a dungeon prop artist, and this where left off. Now, first of all, I think I need to make this a little bit smaller. I'm going to press one, put it down here. Now what we'll do is we'll actually shade it smooth, shades to move on and there we go. That looks a lot better. Now, we might need a hard edge around this top here, as you can see, it's a little bit smoothed off and on these parts here, maybe. So let's think about putting a shot all the way around there, so Mark sharp Yeah, and that looks actually better now. All right, so I'm happy with that. Now, let's do the center part of here. So what I'm going to do is I'm just going to press Shift S. Sta selected shift A, bring out a new Qs S. Bring it out, press one S. I'm going to put it somewhere around something like that. T looks absolutely fine. Now I'll do this we'll bring it the other way. Sy squish in It is a small one after also y a little bit more maybe and then put it as flush against there. Now, find that we can grab the edges. All of this one and this one, and we're going to level them off. Control B level them off, like so. All right. So that's looking nice. Now, let's press control and let's have an edge loop going around here halfway or something like that. Then what we can do is we can pull out those ones here, so I can grab this one and this one, and then I can press S and eggs and pull them out. They don't come out. Make sure you're a medium point, eggs, pull them out, like so. Now, the one thing is I'm not very happy with I want to basically on here. So on this part here. A I'm going to do is, I'm just going to press S and bring it down and you can see that. Kind of messed it up. What I want to do now is bring them the other way. So I'm going to just grab both of these and see if I can actually pull them back out. I'm going to press S and that's what I want. That looks much better. Now I just want to level off these edges. So I'm going to come in. Grab this one, this one, this one, this one, tab control A, A transforms right. S gin, geometry, tab control B, and just level those off now. And now you can see that looks a to better. All right. So now let's make the inner part of this. I'm going to come I'm going to grab this part, pull it back a little bit. I'm going to press, bring it in. And then I and let's make the actual lock. So I bring it in like that and then S and X and bring it together just to make that little lock. Then we'll press tab, pull it back. There we go. Simple as that part. All right. So now let's make these actual kind of metal type straps that are going to go round here, so we'll make the top parts of them. I think on this, we'll actually make them lever as well or something like that. Let's do that. First of all, we'll make the top part, Q S then we'll bring it all. And pull it out and we'll put it to the place where it wants to be, which is roughly around there, and then we'll rotate it. R and x rotate it around. Now the problem is whenever you rotate something, of course, you're going to have problems after that in making it smaller and things like that. Probably better off, not actually rotate getting in the right size face and dead, and y, something like that. Then let's come in and just level that off. Bevel this off, so Control B. Devel it off just like that. Then what we'll do is we'll bring you out. I'll do actually probably a bit of a different bevel now, so I'll press and I'll pull it out with shifty. Okay. And then what do is I'll press. Now what I'll do is I'll bevel these. I'm thinking can I bevel that off again? Maybe, maybe. So we'll just have a quick look if I can bevel it off again. I'm going to do is just going to grab those two control B and this time, we'll just change the segments I think that is what I'm actually looking for something like that. Now I've got that. Let's have a look at that. Yeah, that's sad. I'll just press control. Go back. Grab this one and this one, press control B and bevel it off. Now what I'll do is I'll just make these a little bit thinner, so S and y, and then we'll just pull them back into place. You should end up with something like that. Now we can actually probably think about rotating it. Is that going to be big enough or do we need to make it a little bit bigger, I think, and then bring it up? We're going to put it on this middle one here, and then and X rotate it. Put this on normal, and then we can move in the right direction. I think that logs I think that looks really great. All right. Now we can use this to bring it over here. What I mean, I'm just going to pull it out a little bit more. Then what I'm going to do is I'm going to come to this part, and I'm going to press on this part. Now I want to do is I actually want to bring it in. Hopefully, with my normal on, if I press and should then be able to bring it in like so and move it all very slightly. Now I can actually move this out. If I press should follow that line, and that's basically how I want this to be and then I'm going to move it out as a work along. I'm going to press E and Z, and I need to put this back on global, Z There we go. Now I need to just flatten this off. If I press S and Z now, it will flat it off. Press S and Z again if you need to, and there we go. Now, we just want to have some more edge loop. Control put this around here. That actual edge loop then should actually do it. If I pull this up loop, you can see that that actually looks really nice. Now, I just want to level these off as well, and the reason is because I probably want this to be a level strap, so control B. You can see it didn't really level that off very well, and of course, the reason is we didn't reset the transformation, click origins geometry. Now try beveling it off, and it should. Let's level one of them off first. Control B. There you go. That's looking bad, shade smooth. Let's bring an auto smooth. That one is looking nice. Now, it's just this one, see if I can actually level this off. That's not going to work. Let's try it again. Control B, can we just keeps going down as you can see, and the reason, of course, is because of the shape of it. I just need to press control B, turn down these segments. I think that's going to actually fix it. Can I fix it during that s? Bring it back. Yeah. I don't think that's actually going to fix it for some reason. So I'll do is instead. We'll do it a different way. We'll press control law, bring it in, press control law, bring it up like so, and then we'll just pull these back a little bit. So grab them both. Pull them. Ah, that's why it's actually two together. So, that's why that's not actually working. Let's go back. And now we've got them. So let's just grab shift and click G, and you'll see that they're actually two. Let's pull them out like so. I don't know when I made that mistake where you can say I did do it and now if I actually fixed it. Now let's come to the bottom. Press control B and there we go. The best thing is if you know how to fix something, it doesn't really matter so much. Now we want a little bit of a bolt here, so I'm just going to go back to my materials, and I want to grab this bolt and I'm just going to press shift D, and then I'm going to move it over. And what I want to do is I want to not hide my tails because that will get rid of the bolt. I'm just going to press eggs 90, make it a little bit smaller, and I'm just going to put this bolt right on the front of it. So if I press one, I should be able to put this right on the front of there, like so, and then bring it back. Press the Dp on to zoom in to make sure I'm get flushed then and there we go. All right. Now if I join this with this control J, now I should be able to hide that materials again, and this will still stay there, of course. Okay, so now we've got this. Let's press Control A, all transforms rightly. Set origin, two, three D cursor, and now let's just mirror over. So I'd modify mirror and there we go. That's pretty much. This part done. Now, the only thing that we've got to do now is we need to separate these out because at the moment, when I press Control A, these all are all together and we don't really want that. So let's come in separate these and these press P selection, grab this and this part, press Control J. Bring in auto smooth, right click shapes move, and then we can come in now and bring in a bevel. There you go. You can see a logs of tomb. Let's turn it down though to 0.3. I'm wondering, that should be okay. I think that's going to be fine. Now, let's think about the actual sides. Now for the sides of these, I'm just going to do a real simple set up with that. All I'm going to do is going to press shift, bring in a curve, and we're just going to bring in a circle. The options, of course are over on this side. I'm going to make it smaller. I'm going to press 90 bring it over, make it smaller still. Press three on the number pad so I can see what I'm actually doing. Still needs to be smaller, as you can see, and then I'm going to put it roundabout there, something like that. I'm going to turn up the actual depth first. Then what I'm going to do is, I'm just going to make sure it's still fin so you can see, maybe a little bit too big at the moment, bring it down. Turn down the resolutions and then turn them back up to something like four. Turn down the resolution of this depth here and there we go. Now, on the next one, what we'll do then is we'll get this finished off. So then what we'll do is we'll get all of these textured and things like that. And then after that, we can actually start with getting our treasury, our treasure pals and things like that, which will be really exciting actually to do something a little bit different rather than all this wood and metal. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 46. Texturing our Small Chest Prop: Hold, everyone to Blender and Unreal engine, becoming a dungeon prop artist, and this is where we left off. Now, let's finish these little handles. So all I'm going to do is I'm going to convert at this point, I think, because we've got everything we need off of this. So all I'll do now is come to object, convert to mesh. Now I want to do is we want to actually turn this into an actual handle. So I'm just going to open up quickly. Yeah, that's what I need my reference. So I'm going to press Shift click Shift click Control plus, and then I'm going to actually bring these out. E enter Altern bring them out and there you go. Easy is that for an actual handle. Now, all you want to do is really, you want to be adding in some sharp, l shift click around these edges here. Right click and mark a shop. And then all you want to do is point your auto smooth, and then when you turn it up, of course, those shops are still going to be visible. Now, let's come to the back of it because we need to pull that out to actually look as though it's actually stuck into the actual treasure chest. So I've just grabbed all of these, and then I'm going to pull them out like so, press the tabo and now just put them into place like so. And I need to move them all just so they look as though they're on that piece of wood, and there we go. Simple as that. Now, let's move those over to the other side then. So I'm going to grab it again. Control A, A transforms right, Surrogen to three D cursor, add modifier mirror, mirror over the other side with the Oh, it's already done, I think. Yes, it is. Control A. There we go. All right. That looks really, really cool. Now, let's join this up to all of these parts. I need to apply my bevel, Control A, Control J and then right click shades move. Autos move on, and I'm going to have to think, turn it up a little bit while keeping all those shots and you can see, we've got a really, really nice actual smooth in over there. All right. Now, these are all finished. What I need to do now, again, I'm going to go in check my face orientations. You can see that I've actually got some orientations that are wrong. I'm also checking to make sure that the decals are also correct. So what I'm going to do now is I'm going to c two, each of these, grab them all at the same time. A, press shift, spin them all around, press tab, and there we go. They're all done. Now, luckily for us, these are actually older right way, that's great. I'm also looking at actually these mugs because I didn't realize that press dot, tab shift, grab them all, grab this one, shift, come down and turn it around. And I'm looking this one as well. Shift N, spin it around, and also the jug. Let's press teach, bring everything back. Let's grab the bottom of it, press shift, spin it around. There we go. All right. That was a few there that I didn't check properly. Now, let's come in measure and sorry, let's come in and actually name these. This will be called chest Large. This one will be called chest small. Okay. And finally, this one will be called treasure or chest treasure. The reason I put chest first is because then they're all in the same alphabetical order, so that makes it easy. Then what I'm going to do is I'm going to click on my collections, new collection, go to the bone and we'll call this treasure chest. Like so, and then we can grab all three of these and just drop them into there. Now, I've got a cube here, and I think. Oh, yes, that's that. I need to join this up with this, so control, and then you can see it goes straight into there. All right. Let's close everything up. Another reason why we keep everything tidy is because there you can say, I can see my mistakes as well, which is really, really good. Now, let's come in, I think. Looking at these, the only one we've not used yet, which we've still got though, that's not a problem is if I put this on material, Oh, yes, we have. We've got a light of metal and it's on this one here. These tables actually have the same materials. What I can do is I can grab each one of these, grab a table, press Control L link materials, and that is going to make it really easy because now I come to this, you'll see that I've got all three materials I actually need. Nothing else I'm going to need. That's really, really great. All that's left to do now is to unwrap. Just going to close the materials one down, and then we're going to come now to this one. I'm going to press dot. And the only one actually, I forgot, is going to be the actual lever because I do want these to be a lever strap going around there. We'll actually bring in the lever now actually. Sorry about that. I forgot about that one. So there is, I'll grab this one, Shift D. And then I'll open up my textures. So I'm going to go to my textures, the course down low pack textures, and what we're looking for here is we're looking for leather. So we can see we've got leather parchment, leather straps and warm leather. Let's have a look at our warm levers. It's a pinky color. Let's have a look at our leather straps. Probably going to be leather straps. Let's use leather straps. I'm going to go in. I'm going to minus this off. I'm going to click new and we're going to call it leather straps. Like so, and then we'll go to our shading panel. First of all, that's another right one, shading panel. Let's load that up and control shift t, and we're going to bring in our leather strap. So I just want to go up one. Open this so go up another one, and then we're looking for leather straps. This one here. I'm going to bring in them occlusion, I'm not going to bring in the occlusion. I just don't need it on this one. I'm just going to bring in all of these, not the directex. Obviously, that one is for real engines. Let's press principle. Then what we'll do is now we've got our leather straps. That's what it looks like. That looks really nice. That's good. Now, let's come to this one. We're going to go to the UVtitin Press dot again, so I can zoom into it, hide my materials out the way. I don't need those. Now let's think about unwrapping this. I know that unwrapping this part is going to be really, really easy. So I can just press Smart UV project and then put it on on dark sign. That's fine. You can see now that's wrap really nicely, so we can hide that other way. Then what we can do, in fact, we'll put on material again because whenever we hide out way, we already know that we'll be able to see everything. So let's just put it on material. That's the way I actually changed off by anyway. All right. This one here will also do pretty much the same thing. We're going to grab both of those, and Smart U V. Let's move this over a little bit just to give us a little bit more room. Let's close this down so we can press T and then we can finally just move this over and then we've got a little bit more room to actually work with. Let's assign. This onto here. Now, I'm thinking that maybe this here should be a different material. We have got a different material. If I click the plus born, click the down arrow, we have actually got a few where we've got on grainy on old and dog. Let's have a look at the iron grainy. We've not used that one before. So what I'll do is I'll just grab all of this going all the way around. So I'll do is shift click Shift click Control plus going all the way up. And then what I'll do is I'll just click on grain click a sign. Maybe that is too shiny. Let's say, have a look at the other we've got because we've already got selected anyway. So we've got old. In old looks better, actually. Yes, slight the old. All right, we'll go with the iron old and we'll also do that on this one, then we'll come in, we'll grab shift click ship click Control plus. An older sign, and there we go. All right. Now, let's do the leather strap. So we'll come to both of these. I'm thinking that we're probably going to be better off splitting this up. So I'm going to come in. Or is that going to all be lever. That is the thing. Now, let's see how it looks. So we'll go Smart UV, and then we'll click plus down arrow, and what we want is the lever that we just created, which is leather straps. Click a sign, and there we go. Actually actually, they don't look that bad at all. So let's grab A, bring it up. Yeah, they look really nice. I don't need to do anything with them. Now I'll do is I'll do the metal on both of these, I'm going to come in L, L, L. Then one going to do is I'm going to have I think we'll have it as iron dog. Let's put that on. Let's have a look. Did I unwrap those? No, I didn't. Smart project. There we go. That's looking really nice ye that looks really nice. Now the last thing we need to do, of course, is all of the wood. But the wood now is really easy because we can unwrap everything together. I'm thinking should I actually take off all of these seams. I might make it a bit better because generally, even though he smart UV unwrapping it, Blender will still try and wrap it based on seams, so we don't really want that. I'm going to clear my seams. I'm going to pre Smart UV, project. I'm going to press a 90, spin them around. Press the tab, and there we go. That is that chest looks fantastic. Alright, so that's that chest done that was really, really fast, and now we can think about our other chest. Now, we might as well, save this out and we'll start this one on the next lesson, but. We're pretty much molting along now. So on the next lesson, we should be able to make a start on our actual treasure. Alright, everyone. So hope you enjoyed that. Se on the next one. Thanks a lot. Bye bye. 47. Creating the Treasure Material: Okay. Welcome back, everyone to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. All right. With this, we can do pretty much exactly the same as what we did before. I endorse click a sign, Smart U V project, click, the way. Now, let's come to this one. Should we do it? Yeah, we'll do it the same material. L and Smart UV project, click a sign, hide out the way. Now, let's come to this part here, so we'll grab both of these and these. I'm thinking as well that these parts here, we should also grab. I'm thinking that will first of all, we'll wrap these first. Smart UV project, click Okay, I am dark, them out of the way. Then we'll come. To the center points, so we'll go ship click right in the center. Same on the other side. Ship click ship click Control plus, go all the way out to the outside. Making sure let's have a look at it, that we go all the way up to here. Then what we're going to do is smart UV project, click Okay. Then one and make sure that it's the same. We'll do the same as that one. I think. What was this one's a. I'm just going to have a look at this one d. We've got two N olds on there for some reason. I don't really want both of those on. Going to click one of them off. There we go. I think it's because this one. I think this one. Is it? Yes, that's the problem with this one. I need to just fix this one. So click on old, click a sign. There we go. Don't know why that happened, but either way. Now, let's come to this one. And what we're going to do is on dark and then we're going to hide those. And then what we going to do is, I'm going to create both of these on both sides. So not that one. And then I'm going to press, and I'm going to press Smart UV project. And then finally, I'm going to put it on on old like so, and that is how it should end up. That's looking really nice. All right. So now we can actually hide those out of the way, and we should just be left with the wood, which makes it really easy because now I can just press A, and then I can just press, smart UV project, click. A 90 spin them round, and there you go. There is the wood all nice and done. So that chest also looks fantastic. All right. Now on to the actual last chest. Now, being as this and this are pretty much the same. I'm just going to basically make you do it exactly the same way. I'm going to come. I'm actually looking. Where is the other bit to there? For some reason, that has got that missing, which is not good. I'm just looking at this one. I have no idea why that has that missing, but we'll have to fix that. A I'll do is I'll just delete both of these, press delete, sorry, delete. Yeah. Delete vertices. So not leaving any entities or anything like that. And then what we'll do is we'll come l tag, bring this in, and then I'm just going to press shift, bring it over. Press the dot born and then just pull it out. And I'm also probably going to rotate this so R, y, rotate it round, just a little bit, make it look a little bit different. And then what I can do is I can grab this now. Shift S, cursor selected. Come back to this. It's still part of this one, so I don't want no one to press P selection, and then I want to press control a all transforms rightly. Set origin three D cursor, and then just quickly mirror it over the other side. Press control a join it all together. So shifts like this one, control J, and there we go. All done. Now we don't even have to worry about doing the materials for that one. All right. So let's come in, and what we'll do is, we'll grab both for these. And then we'll press. Smart UV project. Click Okay. Now we're going to do is just come in to material, and we're going to add on Dog click a sign. That's that one done. Now finally, we can come and hide both of these out of the way. Hide them out of the way, grab this center one, look in, as it grabbed it all up to the center. Maybe that's gone too far. Not sure why I delete some parts of this and I don't even know how I did that, but either way, let's fix this as well. So I'm going to grab this, I'm going to press and y and pull it back. Al ton f fill it in. Now I can come in L and in old, smart UV projects. Okay, a sign, and there we go. All right. Hide that one out of the way. Now finally, the met part. So all of the met parts here, U Smart UV project. I old highly out of the way. Ah, no, we've still got some hinges. Did we do the hinges on the back of that? No, we're not. Good job saw that. Let's come in. Grab both of these. Smart UV project. Okay, I old, click a side. Don't All right. This one here. Let's come in, do the hinges first because then I'll make the wood easy. And then click the sign, hide them out of the way and now grab the wood. Smart U V project, A, spin them around to 90, and then finally, is that already on wood I think it is actually an holage tab A. There we go. They look fantastic. All right. Let's now go back to modeling. What I want to do is I just want to put these over the other side because I know I've actually done these, but before I do that, actually, I'll have to come in and open up my treasure chest and wall, do it. I'll just grab all three of them. Grabbing all three, right click and we'll just mark them as I sets like Then what I can do is I can actually put these just these two over this side at the back. Like so, and then I can bring this one to the forefront because I'm still going to be working on this one with metresua. Now, let's bring in our material again. And what we'll do is we'll bring in our coins. Now, we might need to change these a little bit. Just remember that. I'm just going to press shift. Then we're going to do is just minus this off new and winner port gold coins, like so. All right. Shading now if we go in and click on the principal control Shift T and let's bring in our gold coins. I'm just going to go up. I'm going to look for gold. Where are they gold coins. Here they are. All right. I'm going to grab all of these because we have no normal on here, click the principled and bring them in, let's have a look gold coins. Now we can see, first of all, that they look a bit too yellow on there, and the reason is because we do have an emission on here, which I'm going to turn down to no point no one or something like that. In fact, you could just turn it down to zero. You might be better off with that. The other thing I'm also going to do just with this one is, I just want to show you that I want to make the UV bigger on this one. I'm just going to go in to my UV and I'm going to grab it, press dot. What I want to do is, I just want to make this bigger because you're going to have a much better idea of what the material looks like if you make it bigger. Now you can see, it's a lot better look in that bit. Now let's go back to our shading panel. Now we can actually mess around with this. The first thing I want to do is I want to turn up that normal map because that normal map is not high enough, I don't think. I'm s going to press dot, and I'm going to turn it up. Okay. And as you can see, now, now they're starting to look a lot more realistic. Now, the other thing I want to mess around with is the metallic. If I come in and the roughness. Fresh press shift day, I'm going to bring in a curve. I'm going to drop that on there. Then we're going to do, we're going to drop that and you can see now just how much shininess we can get from that because I've dropped that on or how much dullness. You can see that they really need to be a little bit shinier than what they run. I don't want to get rid of the roughness again because we know that'll mess around then and not give us all that detail and things like that. All right. They're looking better. Now let's grab this curve, put it on our metalic and then let's put the metallic up a little bit, and you can see now that they look a lot more realistic than what they did before. I'm happy with that. I'm just going to make sure that it's called gold coins. I'm also going to late Markers asset, and there we go. Now, we need to come in and think about creating gold coin piles. I think on this one, what we'll do is we'll just create one pile, and then we'll create a flat surface in this treasure chest for these gold coins. All right, so let's save that out, and then we'll start that on the next one. All right, everyone. So I hope you're really enjoying the course, and I hope you enjoyed this lesson, and I'll see on the next one. Thanks a lot. Bye bye. 48. Starting the Coin Pile: Welcome back everyone to Blender and argon becoming a dungeon prop master, and this is where we left off. Now I want to do is we actually want to create the treasure, so we want a mountain of treasure and some treasure in this treasure chest. In the actual old one that I made actually created two piles of treasure as you'll see, but on this one, I think we're just going to create one because they're basically pretty much the same. All right, so let's go back to modeling. And then what we're going to do is we're going to press tab. I'm going to bring in now a UV sphere to start and the plane. So let's bring in the UV sphere here, so shift a mesh. Let's bring in a U V sphere like Now at the moment, we've got 32 and 16 segments. That actually should be fine because we want to have a fair amount of subdivisions to actually create this look of actual treasure. I'm just going to move it over. What I'm going to do is I'm going to put this on object mode. I'm going to come down to the bottom and just get rid of it. So Alt Shift and click, delete faces, and then grab the bottom of it, L delete versus so. All right. So now what I want to do is I just want to pull this out a little bit and get it to be some sort of decent shape. All I'm going to do is just going to put portion let it on. Just make sure that you smoothing is on, and then we're just going to come in, grab one of the faces, press G, bring out your mouse so that you can move a little bit at the same time and then just start moving it around, just making it kind of like a actual pile of treasure or something like that. So it doesn't need to be in any set way or anything. It just needs to be a way that you actually like it. So I'm just going to make my like this. I'm going to flatten it down so that it comes to a flattened bit at the back. So So something I think like this. All right. The next thing then is what you want to do is you want to actually remesh this. Let's go over to our modifier tab now. So this little spanner here. Let's add in a modifier. And what I'm going to do is I'm going to click on the remesh, which is this one here. Click on the remesh and it will disappear. Don't worry if it disappears. We can actually fix that. But that's what you need to press at the moment. Okay. Then what you want to do is you want to come over to the right end side and you'll have an option that says smooth. Just click that on and you will see now, it starts to remesh it. Now it is blocky and the reason is because obviously it's not grow enough subdivisions on this to actually do it properly. Just all you need to do is turn this octree depth, so turn it off a couple of times, and then you'll end up with something like this. Now, if you apply this, you will see that when I go into it with the tab, you'll see that it's all been remeshed really nicely, and now you should be able to move this out much much better than what you could before. I'm going to come in now and press G and I'm going to move it round like so and you can see already it's looking much, much nicer than it did. So let's now just play around with it and just get it into some sort of nice form of treasure. So something this may be. Maybe let's bring up the back a little bit as well, so I'm just going to pull it in, like so, and then I'm just going to work my way around now just so I've not got these kind of big lumps or anything like that. I just want to bring them back a little bit and just make it a little bit even like so. All right. The next thing that I want to do is I want to cut away this bottom because I don't need the actual bottom. Then what I want to do is I want to pull out this bottom so that it's not flat and straight down so that it's coming out just a little bit. The easiest way I'm going to do that is if I press one on my number pad, you can see that I've got it here. If I press A then to grab everything, come up to mesh, come down to bisect, I'm going to pull it across then like so, and then just make sure that it's flatten and the way we're going to make sure it's flatt as you can see where this x is on 0.3. Generally speaking, it's always the one that's going to be just slightly, so like this one here, put it to zero and you'll see then it actually flattens it off. Now you've actually at the moment, as you can see, I have not actually cut the whole thing off, so I need to make sure I'm doing that. The other thing is, I'm going to use then this line here to actually bring it out. I'll show you what I mean by that. So first of all, though, I'm just going to go back because as you can see, it was way way higher up on this back and I want to keep most of it. Let's press one. Let's come round then and then let's start pulling it down. Again, I'm just going to grab faces and just start pulling it down where I need to. I think on the back here, this is the part that I need to pull down. That's a little bit better, but we're still having a few problems as you can see. I think what I'll do is I'll cut this away from here and we'll use what we've got. I'm just going to pull this one down as well. All right. Something like that. Now, let's press tab. Let's press Shift he just to hide everything else out of the way so that we've just work on this. Let's press tab, let's press one. Let's press A. Let's also go into wireframe mode and now we can see exactly where that line is. The topmost line as you can see, because it's a bit dark yellow is around here. So let's come into mesh. Let's come down to bisect, and then let's cut this away. Remember, you can use a space bar to move this up and down. I'm going to put it round about there thing and then I'm going to come down to where that one is slightly up. Put it on zero. So now that should be absolutely fine. As you can see, I've got a little bit over here in the middle, but I'm not really going to worry about that. Now what I'm going to do is I'm going to put it back onto solid and I'm going to pull this out now with my proportional. If I press S now, I should, if I bring this in, be able to pull this out a little bit. I'm just trying to pull this out a little bit just to give it a little bit more roundness on these parts. Now what I'm going to do is, I'm just going to go round and just pull these out now. So just trying to get rid of that actually done. So let's pull them out. And don't worry too much because we're going to also use a displacement modifier on these. So you won't actually see any of these plus as well. You can also probably come in and smooth it off. And that's what we'll do next. I'm just going to pull them out a little bit, so like so. All right. Now, let's go in and actually smooth them off before we do anything else. I'm going to press tab again. I'm going to press eight to grab everything. And when it comes to vertex, and you'll see here that we've got one that says smooth vertices. And I'm just going to click that off a few times just to smo them off, like so, and now you can see we're actually getting somewhere. Now, let's just remesh this quickly. So if you come to add modifier, remesh, put it on to smooth, and then just turn it off. A few times maybe eight, something like that. I think that's actually probably going to be maybe that's going to be a bit high. I'm just going to actually apply that so control press tab, and I'm just looking now 232,000 polygons. It is a little bit high, but we can get away with that. You can keep messing around with these modifiers going backwards and forwards as you can see, to really get the look they're actually going for. Now, again, I need to get rid of the bottom, but you can see, that the bottom now, if I grab it is completely flat now, which is great. Again, mesh, let's come in with my bisect and let's cut that away again. Using the space bar just to drag it up. Pressing let and now you should end up with something like that that looks much, much better. All right. The next thing then we want to do is we want to bring in now a displacement modifier. At the moment, we've got If I press tab and grab it all, let's have a 152,000 polygons just in this alone, which is really high, but we're going to bring that down, so don't worry too much about it. What we're going to do now is we're going to save out our work because at this stage, when you're doing anything with modifiers, when you're working with such a high amount of polygons. There's always a chance that blender will crash. Just save it out. Now, let's come to add modifier and we're going to bring in a displacement, and we're going to put the mid level down to zero and then the strength down to 0.1, something like that. Now what you want to do is you can see we've got some drop drooping down here. Let's see if we can bring that down a little bit. Let's try zero. And there we go. Let's put it up to then 0.1, something like that. All right. So it's very, very light on that. Now we can work on that as we move along. Now, a displacement modifier what it does is, it actually uses some noise to actually give us a certain within the mesh. Now, it is based obviously on how many polygons you have, because the more polygons you have, which means the more topology you've got, the more actually it will mold to whatever you're doing, so it could be a marble, clouds look, things like that. The first thing you want to do though, now you've done that, is come over and click new. Then what you want to do is you want to name this. I'm going to call it a god In fact, we'll call it treasure and coins. And then what I'll do is now name my texture and come over to this short check of flag here. Click the down and you'll see already, it's called treasure coins, and that's basically which one we want it on. Now what you want to do is you just want to save this out. If you save this out with this little shield, what it means is when we come on to file now and save it out with As you can see, automatically pack resources. If we come up and save that out. What I'll do now is make sure that this is not deleted. So let's say I want to go in and create another treasure pile. Well, I've already got this actual displacement map then set up for me. So what we'll do on the next one is, we'll come in and we'll set up our displacement based on a texture and then we should be able to get this treasure finished. Alright, everyone, so hope you enjoyed that, and I'll see on the next one. Thanks, lot. Bye bye. 49. Working with Displacement: Welcome back, everyone to Blender and Engine becoming a dungeon proaris and this is where we left it off. Now I want to do is I want to come to where it says image or movie. What I want to do is I want to put this on Veroni and you're going to end up with something like. Just put it on object mode just so we can see what we're doing. Now, if you come back over to now this little spanner, you'll see that when a term strength, I can actually have control now of how this actually looks. Now, let's go back once again to our actual texture. And what I'm going to do is I can actually change the intensity down or. So now I've got enough strength on there and I can do it all from re basically. Let's come down to eight s color, click the color on. And then what I want to do is I want to grab this one, pull it there and then pull the other one over to the other side, and what you're going to get now is that actual lumpiness that you're actually looking for. Now the problem is at the moment is, yeah, it's lumpy and all that, but it's not quite big enough. So we can actually change the size down now to actually get a lot more lumpiness out of it and we can also change this intensity down a little bit. Now all I need to do is I just need to go back to my displacement, modify, and I need to bring this down just a little bit. Let's put it on 0.2, something like that. I think maybe a little bit further down. Let's try 0.4. Something like that should be absolutely fine. I think now what I'll do is I'll come and just make it a little bit largely, not that much. Not point. No 0.8. There we go. All right. Now, let's go back once again to our little texture. Now what you can do is you can actually bring in another pointer. So if I press control, click anywhere around here. Now you'll see when I move this, it actually starts now bringing them in and actually making some real variations in our actual mesh, and that is exactly the kind of look that we're actually going for. Now I want to do is I want to bring down the intensity of it. I'm going to hold shift. Can bring down this intensity just a little bit like so. And now you can see it's looking a little bit more like that actual look. Now, also, let's actually mess around with a size. So I'm going to bring that up holding shift. Bearing in mind I don't take too much stock of what actually these little round pieces look like. We're not actually going for that. What we're trying to do is get some lumpiness and variations. All right. Now I've got that. What I'm going to do is I'm actually going to press tag, bring everything back, and I'm going to actually bring this into my actual treasure on top of my actual chest. If I press Shift S because of the selected shift, let's bring in a plane. So let's press seven toque the top of it. Let's press the button. To bring it down. Let's press S and y to bring it in. And now we're going to do is we're going to actually subdivide it. So if I press tab, right click, subdivide, and just keep subdividing it until you're happy with it. So maybe one more, something like that should be absolutely fine. And now I should be able to do so I should be able to press control. All transforms, right click, origin geometry. Displacement again, add displacement like so, and then we're going to actually click the down arrow and we're going to put it on treasure coins. I'm just going to check the lumpiness. It's 0.8, so I'll do the same thing. In fact, what I could have done is just copy the modifier over. If I actually grab this one, grab this one last press Control L, you can see that I've got one which says, should have copy modifiers, bring that in and then I'll do that for me, making it much much easier for me, as well. The best thing is as well, I've also inherited, I click on this, all of the actual textures as well. So that's really, really cool. All right. Let's now grab this. And what we're going to do is going to come back to our displacement, and I'm going to press control A and just apply that. And now you'll see that we've got let's have a 152,000 polygons. Now, that's not something we really want. It's a little bit too high. So what I'm going to do now is I'm going to bring in another modify it, and this time, it's going to be a decimate. Let's bring our decimate down something like 0.1. Let's try that. So bring it down to 0.1. That's not really doing it. So can we remesh it instead. So let's go for a remesh. Let's put it on smooth, and let's turn this up now. On the remesh. First of all, I want to remesh it and then I'll decimate it down, and then it should actually work out much, much better for me. Let's bring it up to maybe nine, something like that. All right. Now let's press control A, apply that it should be 1 million polygons at the moment, and now we should go down and basically decimate it. Let's put it down two, not 0.1, something like that. Bring it right down. Let it think about it. It's going to take a little bit of time to actually do this, and then let's press Control A. And then we should have this down to, let's have a look once we've once it's done it, add modifier. Let's go to decimate now and we can see we're down to 92,000. Now, let's put this on 0.1 again, like so. Now I think that should be much better. If I press control now, hover over it should end up with something like this. Now, let's at the moment before we do anything else, let's go to our UV map. Let's press and wrap. And let it think about it and wrap it all and you can see we're wrapping like this in the moment and the reason is because we've got this bottom on here. Now, this bottom is something that we really don't want. What I need to do is. I'm happy with actually how this is. I'm just not happy with how smooth it is or anything like that. I really want to grab this, cut it off a little bit above here, and then basically keep that as it is. Let's actually do that now. If I press one, what I'm going to do is press, wire frame and now let's come to mesh and where is it bisected, and let's just cut that off. Around here. Let's make sure that we're happy with where it is. You can see our bisect here needs to be on zero and there we go. I'm going to check, and you can see I need to pull it up a little bit. As to pull it up, you can see now all of that dispear except this part. I'm going to pull it up a little bit more. I'm just looking actually, there we go. Now it's all disappeared. Now when we cut this now you can see priced going to solid. You can see it's cut all the way while leaving is that nice, smoothish shape that we wanted. Now you'll see that I just want to smooth these off a little bit. Can I come up to vertex, yeah I'm thinking actually smooth these off. Let's think about this smooth it off. You're just going to try and smooth them off a little bit. Actually, I'm not going to mess around. I think they're going to be fine. I think I'm messing around with this a little bit too much. I think I'm happy with it. All I want to do is just move off this kind of mound. So I'm going to do is, I'm just going to grab them, come to vertex, come to smooth vertices and now you'll see that we've smoothed that off. If I actually bring this out, now you can see that I can bring it back or I can smooth it down like that, and now if you press tab, you'll see that you're going to end up with. Let's shade it smooth and there you go. That's what you're actually looking for. Exactly that. Now, any of these parts like this where you want to fix them whether they're a little bit too jagged or anything like that, go in and bring it out and just try and smooth them off. Just a little bit, but it should come down as though it looks as though they're coming out a little bit. A little bit uneven is what I'm saying, I think now apart from this bit, that looks absolutely really nice, actually. All right. Let's press one and bring it down to the floor. So and there we go. Now, let's see if we can get this on wrap now. If I press tab, A to grab everything, wrap, there we go. It's actually unwrapped really nicely. Now, let's come to this one and pretty much I don't even think we need to do as much with this one. All we need to do is we need to go over apply our displacement. Now let's actually right click shape smooth. I'm just thinking that that's probably okay as it is. You might want to smooth it off a tiny bit. The other thing is, of course, we've got way way too many polygons. That's actually fixed though, decimate, No, actually run 4,096 polygons. Yeah. Actually, I think I'm going to be okay with that. I'm going to leave both of those now. I think they're good to go. Let's now come and put on our actual goal. If I put this on material just for now, let it load up. Then what I'll do is I'll come to this one. Come to my actual material, click the down arrow. I'm going to search actually for coins. So press COI, you can see, I've got this one that says gold coins, and there we go. Now, let's do the same thing on this one. I'm going to click the down arrow. Again, search for coins. Click it on. Double tap the A, and you can see that this one here, I didn't unwrap it, so I need to unwrap it. So let's press you wrap. There we go. You can see now that's looking a to better. Now what we need to do is I need to bring my guy here and check the actual scaling. So we can see actually with these gold coins, These actually look absolutely fine. They're about the right size. But with these gold coins, they're a little bit out as you can see. I'll basically want to match these up. If I press tab on this one, I'm going to press S, bring them out a little bit, and just try and match them up to be the right size to this. All right. That's looking really nice. Now, what we'll do finally on the next one is, we'll actually get some gold coins around the bottom. We'll actually get our treasure site in this treasure chest and then they should be finished. All right, everyone. I hope you enjoyed that. I hope you're really happy with how yours has turned now and I'll see on the next one. Thanks a lot. Bye bye. 50. Creating the Smaller Coins: Welcome back, everyone to Blend and Oregon becoming a dungeon pop artist, and this is where we left it off. Now, let's actually think about our actual gold coins. So what we want to do is we want to actually bring in first of all, a cylinder or something like that. We also want to put this on goal. If I put this on let's see if I've got one actually that's called coins. Yes, I have. Let's put this on the base collar here. Now I can use that to work on finding one that's turned this way where the little skull is one that's turned the other way. I'm looking for one where I can actually grab it pretty much. I mean the coins are pretty easy to find. I'm just looking for one that I can grab pretty much the other way. You're not going to find one perfectly, but you're going to find one that's roundabout you can see down here with this one. See fine, maybe this one here you can see. This one here, we're probably going to be able to use. All right. What we'll do is we'll bring in a cylinder first. I'm going to press shift A, bring in a cylinder, and it's on 16, which should be actually fine. We'll use this mesh, and what we'll do then is bring it down. Then I'm going to make it the same size as these actual coins here. I press, we can see that we can bring it down there. Es make it like the right size, the right thickness of coins. It's probably a little bit thick, ss bring it down. Then I'm Jo going to measure it up now, making sure that is the right size. So if I hover over there, make it a little bit smaller and there we go, there is the right size. All right. So now let's actually unwrap this. If I come in, and you can see that we've already got some wraps, might as well use them. There's no reason why not. Let's just apply it though, so it's actually got the right material on, so click the down arrow coin. Coins like so. Now what I'll do is I'll comb to the top of it, so I'm going to grab just the press seven to go over the top of it, so seven, and then I'll move this into place. I'm going to press A, S without proportion it's no, bring it down, then that's just drop it. Zoom in S and bring it into place so G. There you go. All right. That is actually not, is it? Let's double type the actual that looks absolutely fine. All right. I'm happy with that. Now what I need to do is I need to come to the bottom. What I'll do instead is, I'll grab this and I'll spin it around. Y 180, let's spin it around. Let's grab then just the top. Then what I'll do is I'll bring it in first. A, bring it in. I'm just looking for that coin now that I found somewhere. I'm going to zoom in. There it is. G. Bring it in, press the S button, make it smaller, G. And put it back onto there. Now, let's actually grab the edge of it and see what I can do with that. Shift and click. And then a S and y, squish it in, and then let's press S, bring it in. Now I'm just looking to see if I'm happy with how that looks, which I'm not. So what I'm going to do is I'm going to put it in something like that. I'm going to have a look round, and I think that's probably the best we're going to get with that. All right, so let's shade smooth. Let's bring in our Auto smooth now, put it on to smooth, and then there you go, that's what your coin should look like. Now, let's put it on the floor. Like so. Then what we're going to do is we're just going to press shift while we're over the top. If you press seven and you can press shift while you're over the top and just lean it over, like this. Then all I'm going to do is I'm going to spin this round. So, y, 180, spin it round. Now I want to do is I just want to lay a few of these out. Now I might as well do this now in modeling mode because I've basically got my materials on there. I don't really need to do anything else with them. So what I'll do is I'll go to modeling mode, and then I can press seven, come in now. Just put these next to each other, basic press G. I'm actually going to grab both of these, and I'm just going to put them over here. Now, because I press sift D and I'm over the top with seven, you can see that they've gone over there nice and flat and that's exactly what one. All I'm going to do now is I'm just going to grab a couple of them. Then grab three of them, so shift D, spin them around, so Z, and then grab a few more of them. Shift D. Bring them round again, so Z, y, 180, spin them around the other way, and then Z. You'll see now that because I'm doing that, it just makes it really easy to make pales of these coins. I grab let's say all of these, press shift D, and then bring them there, Z, spin them around, and there you go. You can see just how easy that was. Now what I tend to do is I'll just bring them up so they're actually not laying on top of each other. I'll grab this one, R and x, R y, and just make them so they actually Correct. So like so, and let's bring this one here. Sometimes I moved some of them out as well, so you can see they've moved it out. I'm just very careful that I'm making sure that they are going to look correct and not floating in the air or anything like that. So with this one, I'll press and x and then I'll per it back. Basically just trying to make some variations in our coins, like this one here, you can see might actually need a little bit more work. Let's put it back. So let's press and y. Spin it around this way maybe like that. Then this one and we'll leave that one there. This one then, x. Like so, and then I'm just going to make sure now that any are not floating in there, we can see this one's floating in the air a little bit, like so. All right. Now, can we get away with just using all of these. What I'm going to do is I'm going to grab them all now and I'm going to press control. J just to join them all up. I want to right click shapes move, make sure my autos moves on, which it is what I'm looking for actually is probably turning up that autos move because I do have a few issues with how flat this is, as you can see. There you go flatten them all up now. I'm just wondering if I'm just going to have a quick look and see what they look like. Yeah, I think actually they look fine. All right. Now, let's grab them and we're going to bring them into here, like so. Then what I'm going to do is I'm going to press shift, bring them over, spin them round, something like that. G, bring them in, and then the same over here, spin them around, so, pd them out a little bit. Basically now just get in the corners there. I might just bring another one in as well. Shift D, bring them in, mix it up a little bit, and then shift D I'll just come over to this corner. Then bring it into place. All right. So now what I want to do is, I just want to press one, and I just want to make sure now they just on the ground plane, J above it, like so and I also want to do the same With these, so press one again, bring them down. Then bring this one down. And double tap the A. There you go. That's how we make our actual gold coin mounting. Now there is as well, you can actually also press Shift D press the r and x R and x. It does make a difference if you can actually get some coins that are actually stuck out like this. Press shift D. Press and, and then r and x and spin them round and you should have now, a couple of them to actually work with so you can see the press R and y. And then press G, there you go, actually get some coins that are actually stuck out, which does make a huge difference. Shift D, bring these in, pull them all power here, press R x, then bring them out, double tap you can see now what difference that actually makes it actually gives some more dimension to it. All right. Now we've got these two coins here. I don't think I'm going to need those. I think I'm just going to delete those out the way. And then all I'm going to do now is I'm going to grab some of these coins. I'm going to press Shift D. Bring them all into place. So. Then we drop them into the top of my treasure, like so, move them over. Then I'm going to press Shift D, bring it over and then R and Z spin it round double tap the there you can see down that looks. Now, let's bring one more lot and maybe put it down here. Maybe two, we'll see, shift D, bring it over. Put it down, right where the actual bottom of the actual chest is, something like that, and then press R and Let's put it around here. I think that this last one, actually, I'll just move out just a little bit just so they're not overlapping there, and I'll grab this one, L and I'll press R and x then G, and I just want it leaning up against there, double tap the and there we go, do we want any more? Do we want another one? Maybe, maybe. Let's bring in one more shifty we'll bring in one, put it actually next to it. Seven Get's put it a little bit next to it. So let's bring it up. And then what I'll do is I'll just, I think, get rid of the other one. Five press L, L delete and then on this one as well, delete. There we go. Let's double tap the a pretty much there we go. That's looking really cool. Let's have a save look on our render now and see what they look like. Let's turn off our interlocking actual square, so we can turn that off by clicking this button. Okay. There we go. Really, really nice. Okay. I'm really happy with that. I'm really happy how that looks. I'm going to put it back onto material. I'm going to also put my little squares back on. I'm going to come to file, save it out. What we'll do on the next lesson is, we'll start joining all this up together, bringing in these other treasure parts so we can actually really see this treasure part come to light. All right, everyone, so I'll see how the next one. Thanks a lot. Bye bye. 51. Populating the Treasure Chest: Welcome back everyone to Blender on a legion becoming a dungeon prop artist, and this is where we left off. Now, let's join all these together. Let's move our guy out a little bit. So what I want to do is I'm going to join all these together, so I'm going to press B, just to grab them. I'll grab my chest last. Press control J. Join them all together now. You can see we do have some problems in there that the smoothing has not come through correctly. And generally when this happens, and this is actually blanked out, it normally means that you just go down to geometry data and you just want to clear your custom split normals. So just clear them and you'll see that actually fixes it, and now they look fantastic. All right. So now let's join all of these up together. So I'm going to go over the top again. I'm going to press B. Grab everything going all the way around to here, press Control J because we've got our goal pow last anyway. So press Control J. And again, what we want to do now is put on Auto smooth for some reason that wasn't on. And there we go. There is our actual treasure looking really, really nice. Alright. So now, I want to actually bring some treasure into this here. What I want to do is I want to use all of these I've got here. What I'm going to do is, I'm just going to go over the top, press B, drag, and then I'm going to just going to press shift D and bring them over. Now you can see, I grab that treasure pile I don't want that. I'm just going to lead it out the way. Then what I'm going to do now is I'm going to bring these into here. I'm going to bring them a little bit closer. Seven normally when I do this, I normally have to make them a little bit smaller, they are normally a little bit too big. Let's make them smaller Now let's fit this silver plate in first. I'm going to press R and x, spin it round, and then rt spin it round a little bit seven, and let's get that into place. Something, something like that. Let's bring it up, so it stuck out of the treasure chest. Now let's bring in our actual necklace. I'm going to press G. And drop it straight on the top. I'm going to spin it around so you might want your overlapping hanging over or something like that. That might be really cool idea if you want that. What I'm going to do is I'm going to just put it in there, press the tab button, put on proportion let it in, and then I'm just going to grab one part of it, press G and jaw slightly, pull it out. So it looks like it's jaws kind of coming out of the actual treasure, like it's hidden in there or something. Yeah, like that. Now I'll actually bring in this opal, so I'm going to press G, and it's way way too big, as you can see, I'm going to spin it round, y, spin it round, so having it stuck out of there, and let's put it over here. Now, let's bring in the sapphire. Again, I'm going to press S G G again. Let's spin this round, G, drop it into place, and let's move it along like so. Then let's press shift and we'll bring in another one of these maybe over there, like so, and then let's put it over here, drop it down, so. Then let's bring in our diamond. G S Okay. G so have it look as oh it stuck out of there. And I think actually, as far as that goes, I think that'll be okay. I'm going to make this goblet a little bit smaller and press G, and then I'm going to press y. G then let's just drop it in. We'll have this stuck out just like that, I think. Yeah. I look at that. And then finally this one here, make it a little bit smaller, press the Sport and then g and we'll have that pointing more towards that. If I add R and y, like so, and then R and Z, and then just bring it in now. I want actually this to be looking as though it's poking out through there. Like so. There you go. There's your actual treasure dump. Now, let's join all of this together again. I'm going to grab it all, grab my treasure chest last. Press, control, J. Make sure that my normals are still on and then just have one last look around. Now, let's put it back onto rendered view. Let's have one view of it. A and that looks really, really cool. All right. Now, let's put it back onto material mode. And then what we'll do is we'll come in and name this. I'm going to press got one that says treasure. Yes, I have already got that. If I press dot, I can see this is called sphere. I'm going to call it treasure pile. Then I'm going to come to this one. I'm going to call it treasure chest. It's called chest treasure, that should be actually fine. All I need now is to put these into. So I'm treasure pile into my treasure chest, that should be fine in there. Then I can close that up. Well, before I actually close that up, I need to right click and mark as asset. I also as well, should be checking my asset manager just to make sure that if I go to my props, I've got a large create. I'm looking to see if they actually is in there and I don't think they are, so I'll come back to then what I'll do is I'll see If I can grab, where's my treasure. Let's put in treasure. I'll grab both of these then, like so and I'll put them into my props, and there we go. They're in the props, and I can click the x. Then what I want to do is I just want to see if they come out properly. That one does, and then where's my treasure. Chest. This one here, and there you go. Oh, for some reason, I joined up. Now, I want to split those up, of course. I'm going to grab my man LP selection. Grab him. Let's call him a human because of the moment it's called treasure chest. So human let's drop him back in where he needs to go, which is my human reference? All right. There we go. Let's fix that. Now we'll just try even if this is updated, where's my chest? There we go. Yeah, there we go, and now you can move it around or whatever you want. Okay. So really, really cool. Now, let's put these towards the back or down this side, at least, something like that. I think I'll put them. I think I'll put them around here. Okay. And I'll rotate this one round, so I rotate it around a little bit. That's to the and there we go. All right, so we're really really moching along now. Now, the next one I think that we should have a look at is going to be probably going to be our scrolls. I think that'll be the best one to go through for now. So again, let's go to our actual references. So let me open up my reference. So here are my references and we can see that we've got one, which will be under the small props. So if you open up your small props, let's pull it forward, you can see here, this is the one that I'm going for. So we've got scrolls. These two are pretty much the same. This one has, in the case, so it's a leather bound, and this one, of course, is open, and it's also got some wording on and things like that. So that's what we're trying to actually replicate right now. All right. Let's go in now and what I'll do is I'll just hide that over there. Again, if you want to bring yours in, just bring it into pressing one shift A, bringing in images reference. And then the first thing I'm going to do now is just hide all my materials out the way because again in the way a little bit. In fact, what I'll do is rather than do that. I'm just going to grab them all and I'm going to pull them over to the right hand side, and it's going to make it a little bit easier to work with now. Let's press shift this cursor to world origin. So now what we're going to do is before we begin, if I press shift date and come to my curve menu, you'll see we're very limited by how many curves we have. What we need to do is we go to edit preferences. And then what I'm going to do is I'm going to come to let me find it. So we need to go to add ons. I'm going to click off this image. I'm going to put curve and you will have one that says curve where is it? Add curve Extra I think it's extra objects. Let's just try that one and we'll also add curve curve tools. We'll also add that one as well. All right. We'll click refresh, close that down. Now if I press Shift A, I should have on the curves a load more to pick from. That's exactly what I want. Now, the curve that I want is the curve spirals and you want to pick this one here, which is called archdian click on this and you'll lend up with something like that. Not a lot happening at the moment. But if I click up the turns and then bring up the steps steps. Let's think where is the not the radius, pick up the height. There we go. That's exactly what I'm looking for. Now we can see that we can add more steps. You can see that if we add more steps, we end up with something like this. This is not quite what we want. We want to actually bring in a radius growth. If I bring this, you'll see it comes out like that. That's pretty much like a scroll actually is. But then we've got a problem with the height. We need to bring back the height so. Now you can see that if we were creating this as a scroll, it would be coming now at the actual lens. Now I want it to go the other way. In other words, I want the height to go the other way. If I bring this back, let's say like so. Now it's going the correct way. Or you might want to go the other way it's completely up to you, whichever way you want to do it, but I wanted to go that way so that my actual scroll is coming down here. Now, it's up to you as well, how many turns you actually got. I'm thinking I'm thinking that actually, I want to bring this in now, so I'm going to bring it in, bring it in, bring it in, bring it in. You see, as we bring it in now, it's starting to look a lot more like a scroll. Then all you want to look at is the actual radius grow. Just make sure you're actually happy with it. You can hold the shift board, and then you can also bring in the radius ordered steps as well. You can bring down the steps to make it not quite make it more rounded or whatever you want to do with it. I think I'm just going to play around with this just a little bit more, so I'm going to mess around. I'm just looking at the height. I'm going to change that height. Going inwards. Basically, when I pull this out now, this one here is going to be the furthest in the actual scroll, and I think that's exactly what I want. Now, the other thing is, do I want my radius growth to be down a little bit? Yeah, I think it's going to look better like that, and then I'll just mess around with the high once more and like that, I think it's going to make the perfect scroll. Because the thing is, I'm going to use this pretty much for all three of my scroll. That's why I want to make sure that it's done corrkly. Now if I pull this up without proportional editing on, that of course will disappear, and now I'm free on the next lesson to actually start creating this into some kind of actual scroll. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a byeye. 52. Using the Add Curves Blender Addon: Okay. Welcome back, everyone to Blender and real Engine becoming a dungeon prop artist, and this is where we left it off. So here we are with our actual scroll. Now the thing is with this scroll, if I bring this down, I need to have one on the other side. So let me see if I can actually extrude this. So if I extrude it, you will see that it kind of goes in a really, really weird fashion. And even if I press shift down, you'll see that it doesn't really help it turn around. So what I'm going to do instead is, I'm actually not going to extrude down we press zero on that, get it back to I had it. And then what I'm going to do is I'm going to come straight in and actually go to object, convert to mesh. You should end up with something like this. Now I want to do is press control a you'll transform directly. Origin geometry, like so, and we'll end up with just this piece of kind of edges, and then I can press A. Instead of doing what I was doing before, I can actually come now and bring it to basically bring it down. But what I'm going to do before I do that is I'm going to pull it down to something like here. Then what I'm going to do is I'm going to right click and set the origin. Tab set origin to three D cursor. Now on the news, I'm going to bring in a mirror. Add modifier, bring in a mirror. Put it on either Y or Z. There we go, it's on the Z. Now you can see we've got the ends that we actually want. All we need to do now is actually join this up. I can come in and grab this one and grab this one once I've applied the mirror, let's press control. Ply the mirror, grab them both, and now we should be able to press right, click and come down, and let's put it on edges, first of all, right click. And now let's bridge edge loops, and we should end up with something like that. And you can see how easy that actually was. Now, let's bring up our reference again because I just want to show you something So we can see that these as they go further in, they actually bend inwards. You can also see that on this one, it actually closes up the closer it gets to the side, and that's something we want to actually replicate. If I put that back over there, I'm going to come round now and see how big this is. So first of all, I'm going to do, I'm going to press S like so, and then I'm going to grab this one and I'm going to make it probably a little bit longer on the S just pull it out a little bit like so. All right. That's looking perfect so far. You can see it's going in. It's looking like a scroll. All we need to do now is bring in an edge loop. Let's press Control off. Left click, right, click so. Then what we'll do is we'll squish that in. If I come to my proportional editing, make sure I'm on smooth and then I'm just going to press S. And bring it in like so. There we go. I don't actually think we might need a couple more edge loops instead of make that a little bit more smooth than that. Let's do that now. Even though it's supposed to be stylized, maybe it's a little bit a little bit smoother. Let's press controls again. Let's this time bring in three three edge loops, left click, right click. Grab this center one, press the S p to bring it in. And now you can see it comes in much smoother and looks much nicer. All right. Now all I want to do is I want to bring in this part here. If I come in, And what I want to do is I just want to bring it a bit closer together. I'm just going to grab this part. I'm going to press seven squelver the top, and then I'm just going to press G and hopefully, I should be able to move that part. Now you can see I'm having a little few problems there, what I'm going to do is, I'm just going to come in and I'm going to grab this edge instead. A click seven, and now let's press G, and I'm going to bring it in. You can see I'm still having some problems. Let's see if I can turn on connection only. G, and there we go. Now I can bring it in a little bit closer. Let's grab this one going around here for C as well. Ship click seven, let's press G. Bring it in. There we go. I'm happy with that now. It's nearly touching and that's exactly what I want. Now the next thing I want to do is I want to actually solidify this because at the moment, it's just a basically a two D scroll. We don't really want that. What you want to do is, I want to first of all, right click shapes move. Let's put Auto Smoove on so you can see to smooth for some reason is 180. Let's put it on 30. I think whenever you bring in a curve it automatically does that, I'm not sure why. Now fine let's reset our transformation so control or transform. Origin to geometry. Now, let's come in, add modify it and we'll bring in a solidified. There you go. Now you can see just how easy it was to actually create that scroll. So now let's bring it in a little bit, make it a little bit thinner. Now, of course, we need to actually give some tears and things like that. We'll do that actually now. I'm going to do is I'm going to come in with my knife tool. All you need to do is bring your knife tool is just press K. Then what you can do is you can come in now and just basically get rid of the end if you want to, and then we can come in and we can just cut away some of the parts and then K. Enter all I'm doing is I'm pressing K, click in, dragging it down, and just getting rid some of the parts, so ner I'm going to press K again. Now, if you don't want it to actually go to the center there, you can old the control, and what it means is it won't actually magnetize to it. Again, then we'll do this part here. Again, control, control, and then click enter and then wave the way around. Of course, we need to do both sides and we do want them to be slightly different from each other, and then K D one on here. So there we go. I think that we'll do for now. Now what I want to do is, I just want to because you can see that they're all highlighted, right click and Marcos. Now why I'm doing that is because now I can come in and press L on each of these in face leg and basically it will just come in. And be able to select each one of these except this one for some reason. I'm just going to press control, press L on each of these. Just work my way around, delete and faces. Then there we go. There's your actual scroll. Now there is this one to actually do, so I'm going to come in, grab this one, delete face tab, there we go as simple as that, and you can see they look really nice. Now, there is a problem in that. Let's put it on object mode. You will see, we do have some issues. With our actual mess. You can see here. It needs round off a little bit more, so let's see if we can actually round that off. There we go. It's looking a little bit better apart from these points here. Now the reason there there is well, first of all, I've not actually applied my sledfy second of all, I might need to trigulate this a little bit just to make those come better than what they're looking now. But let's first of all, work on the actual side. I'm going to do exactly the same thing as what I've just done. I'm just going to come in with my knife and cut these out a little bit. I'm going to come in, put them out, and then just work my way round, make them a little bit uneven. So and work your way around and you'll see down nice these things can actually look. We've taken just a little bit of time to make them look pretty stylized. Then finally, this sit here, I'll just put it in here. Now let's come in and grab each one of these now. We just shift select so switch my way around. Find other ones I want to use. Press Blete faces, and there we go. That's the other end of the scroll done. All right. So now let's come across and think about adding in solidify hover over it, press control A. Control eight and there we go. Now we can see that we do have some problems with these edges. Let's come in now and see if we can actually triangulate it. Right click, triangulate bases and there you go, now, can we turn up this a little bit more a little bit. You can see actually it has made it a little bit better. Is that where the actual joint? Yeah, that's where it joint that's fine. You can see you do have some slight problems in here. Now, if you want to get rid of those, just press control. Go back a minute before doing that, and then bring in another edge loop. Control. Well, you'll see that actually, I can't bring in. What we're going to do instead is, I'm going to use my favorite tool, as you know, which is the bisect tool. We're going to bring in the bisect tool and I'm going to just put it across roundabout there. I'm going to take off clearing it. What I'm going to do is going to make sure that set to zero, and then I'm going to do the same thing again. A, bring in mesh, where is it be? Let's put it across here. Let's bring it down a little bit. Bring it down to there. Then let's also set this to zero. Now, let's come in. A triangulate faces. Let's turn this up a little bit and we should now have nowhere near as many issues as you can see. It's looking really, really nice. All right. That's the first scroll. Now, let's come in and make our second scroll before putting these actual seals and things like that on them. We'll grab this one. We're going to press shift D, and I'm going to pull it out. Then what I'm going to do is I'm simply going to grab the inside of here. I'm going to grab I think these two top ones here. So I'm going to come in and grab maybe these two top ones here. I'm going to also put this onto connected only off, and then going to press one. I'm going to do is I'm going to press Send and try and bring this out a little bit. Look in. Yeah, there we go. There we go. That's what I wanted. Now we can see we have two scrolls, one being much taller and you can see it fans out a little bit more the other one, so it does look a little bit different. To scrolls for the price of one. All right. What we'll do then on the next lesson is we'll actually create this actual lever strap that goes around here. And then we'll actually put the seal on as well. We have got a seal that we can actually use as part of our texture, so we'll put that on there, and then we'll make one of these into that leather bound one as well. Or we might just actually make a couple more scrolls because they're actually kind of easy to me. And the other the leather bound one, I don't think we need any cuts or anything like that out of it. So I think we'll do it that way instead. All right, everyone. So I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 53. Creating the Torn Scroll Edge Effect: Okay. Welcome back, everyone to Blender oral Engine becoming a dungeon prop artist. Now, this is where we left off. Let me just pull up my actual reference just so I've got that to actually work with. And then what I'll do now? I think we'll actually, first of all, yeah, we'll create the actual bound that goes around the. So what I'm going to do is I'm going to make sure that my cursor is in the center. So shift de cursor selected. I'm also thinking that I'll probably be able to use this line going down here instead of bringing in something new. Let's see. Can I actually use it in the way that wants. I'm going to press shift and click, and I'm going to have to go I think all the way around here, unfortunately, to, like, actually, that's not that bad. I think that will actually work. And then we'll do is I'll press shift D. I'll take up proportional editing, I'll press the S p then what I'll do now is I'll literally just join this one to here. I'll get rid of this because I don't think I'm going to need it. This one here, delete and edges, and then let's join this one and this one together. So we'll join this and this. I think we'll do it through we could even press J, but then we're going to end up with a bit of jagines. Instead of that, we'll just come down and merge at where is it at center merge at center like so. All right. We should end up with something like that. Now what we need to do is we need to obviously bring this out a little bit. So let's actually split it off as well. So LP selection like so. And then what I'm going to do now is I'm going to bring it up. So I'm going to hide this other one out of the way just for now. I'm going to grab this one. I'm going to press tab A. Make sure on edges, like so, and then press E and Z and pull it up like so. Now, remember, one of them is going to be relatively thick and then we're going to have another one that's actually going to go round there as well. So remember that's actually what we're doing with this. I've got my first one now. What I'll do now is I'll get another one that's going to go around it, so I'll press control. Let clip right click Control B, pull it out. Like so, and then I'll use that as another part so I'll press should D. I'll press S, bring it out, so. All right. They're looking pretty nice. Now, are they in the center? No, absolutely not. So what I need to do is an press control all transforms, right click origins, geometry, and then shift S and selections cursor keep offset. Now they're relatively in the center. I'll just need moving a little bit, but apart from that, this should be fine. All right Let's come in, add modifier. We're going to bring in a solidify I'm probably going to make them a little bit think. I think that's a bit too thick, even thickness on. Bring it down. Maybe something like that. I think that should be fine. All right. Now we've got them. Let's actually bring them in, so I can press A, I can press S, bring them into place, and then I can move them over as I said, and make them fit around my actual scroll. Now, the one thing is, I don't think I'm happy with how thick they are, so I'm going to press S and Hold them out a little bit. Yeah, I think that actually looks much better. The other thing is as well that I'm not sure actually if I've got any edge loops on this one, but I need to certainly bring it out. I'm just going to hide my scroll out the way at the moment. And what I'm going to do is going to bring in a three edge loops in here. I press control, grab it first of all, we have actually got them in, so that's good. What I can do instead is, I can just grow this on this put proportion all I'm going to do is just pull them out. Like so a little bit. Now you can see that's looking really, really nice. All right, let's press saltag, bring everything back, and now let's make them a little bit smaller. So I'm going to grab them both S, bring them in, make them a little bit smaller. So, making sure everything fits. Then what I'm going to do now, I'm going to grab this one and then to press S. Take off proportions in, bring it in a little bit. Now all I'm going to do is just fix any parts that are not right. If I grab everything now, press A, just pull it out just so we've not got that actual bend in there. There we go. All right. Finally, now, let's come in and add in our solidify, press control A. Click, shades move, Auto move on, which it is, and there we go. Now we need is an actual seal. I'll bring in a seal. What I'm going to do is I'm going to press Shift A. I'm going to bring in a I think I'll bring in a cylinder, just a stock, that'll give me a good idea of what I'm doing. I'm going to also put it on 20, not 16 because I actually want to bend this a little bit, as you'll see, so I have a press now and bring it into place, and then going to rotate it round. So x 90, bring it into place like so and now let's squish it in a little bit. So S and y bring it in. Like so. Now the thing is with the seals, you will notice they actually bend with the actual scroll normally. That's something that I actually want to replicate. I want to bend it in, bend it over, so it actually bends into this part that I'm actually trying to do. To do that, the easiest way actually is just to come in and get rid of all of it except the front of it. I press shift, and then come in, press delete versus. Now, I might actually be able to come in and just add in a subdivision. Let's see if we cancel all transforms. Let's see if we can just get away with a subdivision. Let's press control. Yeah, it's just going to subdivide it like that. That's not actually what I want. We can bend it actually probably like that. In fact, yeah, we might be able to get away with that. Let's give it a try. Control. Yeah, that's the issue I'm going to get. I certainly don't want that. I'm going to press Control D, take off that subdivision and now let's do it our actual self. How do we actually do this? Well, first of all, we need an actual point to actually work with, and we're not going to get that from just this because if I can I press? Yeah, I can actually. Yeah, we'll do it that way. I just press and bring it in. I'm going to press control. Bring in a few subdivisions. And then now what I can do is I can actually bend this into the place that I want it. So I'm going to grab the outside of it, put proportional editing on, and then just pull it out and your see actually bends with it really, really nicely. Now we can actually make this into an actual seal. So if I press A, press to pull it out, like so, and then just grab the front of here, shifting click, press, pull it out. Then we go there is your actual seal. Now let's press control A. All transform dr click. So origin to jump tree, and now let's put it back into place without portion editing on. There we go there is a really, really nice seal. All right. That's that don Now, let's say, right click Shade Smooth. Auto move on. Join it now with the rest of this control J. Now all I want to do is just put it over to the middle of this one. I actually, if I grab this one, I can press shift D, and bring it over, put it right next to this one here. You can see probably got a little bit of work to do in that it's not actually central. Now it is. There we go. Now the thing is with this one, do I want a smaller smaller part on here? Probably so. Let's do that. So what we'll do is we'll press L on both of these, press S and Z without proportion's also as well, make the sealed a little bit smaller. I just fits this one a little bit better. Now the thing is though with the seal you would still have it coming out to be fairly thick. It wouldn't lose its sickness. It would be a little bit smaller, I think. Slick, right click. Mark seam and then come in, grab this, press L, and just pull it out a little bit. Then it's going to keep that kind of thickness that we're actually looking for while being a little bit of a smaller seal. All right, I'm happy with that. Let's join these together, so control J. Let's come in and join these together, so control J, and there we go. They look really nice. Now, let's think about our next actual scroll. We have one that's open and we have one that sealed up. Let's do the sealed up one first. What we'll do is we'll just put our cursor over here with shift right click. I want to press shift a curve, and I'm going to bring in where is it spirals, archds see how it went straight to the center of the world. It didn't actually go with the shift bar sometimes that happens. Now, let's just turn up the number of steps because this is actually a full scroll, and we'll also bring this down a little bit as well. I'm going to turn down where is it the height? I'm just going to turn down that down a little bit, so it's a little bit more flat and then turn it up just very, very slightly. So very, very slightly so. Now we'll use that as our actual scroll. I'm going to make it a little bit smaller, and then I'm going to pull it over. And then what we're going to do now is do exactly the same thing as what we did before. We're going to mirror it over. If I press one on the number pad, bring it into place. Then I'm going to pull it down, and I'm going to mirror it from this point here. Shift cursor to world origin, and then I'm going to press tab. Make sure I've got the selected right click Set origin, two, three D cursor. Then finally, what I'm going to do is I'm going to come in and bring in and modify it. It's going to be a mirror. It's going to be on the Z. Take that off, and there we go. All right. So that part done. Now, all we need to do is apply this. Control A, control. Oh, yes, I can't apply that because what I need to do is, I need to come to object, convert to mesh. Because it was basically a curve, as we know, we can't actually apply the modifier in the curve. Now I can come in, put it on edge select A, right click and just bridge edge loops. There we go. That is what I'm looking for, because that now can be used to house those scrolls which have those things coming out of them, they're wrapped in this. All right, so I'm happy with that. Now I want to do is on the next lesson is we want to make the leather casing that goes around here. Want to make those little funny things that come out of it, like what they hold them with and wrap them with. Then finally, we want to make the open scroll. Then finally, we can get all of our textures on. It takes a bit of work to get these done. But once you've got the technique nailed down, you can see it's really easy to go away and actually create your own scrolls anytime you like. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 54. Creating a Parchment Roll: Welcome back everyone to Blender and region becoming a dungeon prop artist, and this is where we left off. All right. So let's move this one over here. And what I want to do is obviously seal this in a canister of some kind. So I could use this, but I don't think so I think it's better actually if we use a circle, so I'm just going to bring in a circle. You can see I brought my circle in here. That's not actually where I wanted it, or I could use it there if I move these both out of the way, like so, and then I actually bring this to the center here. So I think I'm going to actually get rid of my circle, Llete vertices. And then one going to do is, I'm just going to reset the transformation. So transforms right clips origins geometry, Shift S selection to cursor seven 12 at the top. And you can also see I do have a problem in that. I can't even see it because I forgot to bring in my actual slidif. Let's do that first. Let's not jump the gun. First of all, solidify, turn it down, even thickness on. And then something around, let's say, round about the thickness. I think that's a round maybe that's around about the right thickness. All right. As well, while we're here, let's have a look and is this actually going to be long enough? Probably not. Let's make it a little bit longer while we're here, then let's press control A. Now forgver the top, I can actually see what I'm doing. All right. So now let's press shift and we'll bring in a mesh and circle. There we go. Let's make sure it's on 16 at the moment. Let's put it on 20. Let's bring it down then. Like so. Now let's actually give this up to here, so I'm thinking probably up to here. If I look on my reference, we can see that the scroll is just actually stuck out a little bit, maybe up to there, something like that. And then we'll do is all right click, set origins three Dcursor then we'll bring in another mirror. Add modify mirror on the Z takeaway the x. Apply the mirror, press tab, and now we should be able to just come in and add in a bridge edge loops, and there we go. All right. Now, of course, this needs some thickness before we do anything. So let's actually do that. I'm going to make it slightly thicker than the actual scroll. I'm also thinking that I'm going to make it a little bit smaller, which means If I make it a little bit smaller, I'm going to have to pull it out a little bit as you can see. I'm going to pull it out a little bit and try and get it into a better place, and then what I'll do is I'll make the actual solidify go the other way. Now, because I made it smaller, as you can see, now it's stuck out a long way, so I just need to pull that out, so sad pull it out a little bit like so. Now let's add in a solidify. We'll come in add solidify Press seven to go of the top, and let's bring it out words the other way like so you can see, it's much muchthicker than the actual scroll. All right, Let's press control A on that, so we need to press tab first in an object mode control a and now we can actually free to bring in those ends. All I'm going to do is I'm going to press three to go inside view all one, whichever makes it easiest. Press control, press two, left click, right click. And then one going to do is I'm going to bring these out now. S and pull them out like so, and then finally, I'm going to press control B and pull them out nearly to the ends, not quite. To extrude and enter and then press Alt S, and then you can pull them out relatively straight, and you should end up with something like that. That's looking really, really nice. All right, let's shade it smooth. Let's bring in our tosmoth. Let's do the same thing then on our scroll so shades so to smooth, and we should end up with something like this. Now we just need those ends that are going to come out. Again, we're going to use pretty much the same techniques as what we've been using. Shift, let's bring in again a cylinder. I'm going to do just one on each end. I'm going to make it smaller and then just mirror it over it. I don't want to running all the way through. We don't actually need that because you're not going to be to see it. Let's press S. Then what you want to do is you want to just line this up now so you can see at the moment, it's not lining up. It wants to be lining up round about where this is, maybe make this a little bit bigger. And now it looks as though the scroll is actually wrapped around there. All right. So I'm happy with that. What I'm going to do now is I'm going to actually press tab, I'm going to come to the top of it. I'm going to press, bring this part in. And then what I'm going to do is I'm going to press, pull it out. So now I want to have that nice end on here. I'm going to press, pull it out, and then pull it up. Like so. Just make sure I'm happy with the actual sizing of this, which maybe I am. Maybe I want to make it just a little bit bigger, S and then and then S A thing that looks at that. All right. I'm happy with that. One thing I think is I just want to drop this down. Shift and click, drop it down a little bit like so. That's looking really nice. Now, let's press control. A transforms, click Set origin to geometry. Now let's just bevel off this top because this top I'm not very happy with. I'm going to press control B. And then one going to do is I'm going to turn of the amount of segments. You can see the shape is completely wrong. Let's just turn it up and make it nice and rounded like so. Now we'll come to the bottom part. And then shift click Control B level that off as well, and you can see that we've got a few issues down there. We don't really want those. Let's reduce those to maybe we'll keep those at three. Now, I'm just looking out and making sure that I'm happy with this bob because if I'm not happy with it, I can actually fix it on here. I think what I'll do is just level this part off very slightly. If I grab this Tres control and then just reduce it back, maybe look at that. I'm just going to right click Shade Smooth, to move on, double tap the eight, actually, that's in pit, but that's exactly I want it. All right. Now we need to do is we need to grab this part and we need to reset all transforms, all transforms, right click Set origin, two, three dos let's now add in a modifier and we're going to bring in a mirror, put it on the Z, turn off the X and there we go. Hopefully, that should be in the right place. And now I can just come in, press Control and join this now altogether. Control J. There we go. Let's spin it round, y 90. We didn't join it altogether. So I'm going to grab this and this, control J and then x or y, 90, spin it round, 90 There we go. That looks fantastic. Happy with that. Now we need one more then. We need the open scroll now. The way we're going to do that is pretty much exactly the same way as what we've been working with. Shift A and let's bring in a curve, and we're going to bring in spiral. We're going to take down the number of turns, take them down probably all the way, actually. If you can see now, you might make it easier like that's turning up just one more. You can see that that's probably going to be too much if I actually do it there. I'll just turn it down. I think Yeah, think to that, it's just bent a little bit. Now, if you do want to add in another one, you can come in. Of course, grab one of these, and then all you've got to do because I'm over the top like this, I can just press. Just make sure that you keep it the same distance here, and then you can just press again and then again, and then you'll see now that we've got that actual shape that we're looking for. That's exactly what we want. Now, While we're over the top and press in seven, we're just going to pull it this way. And then what I want to do now is, I just want to flatten this one out and then join mid basically over as you can see. So let's come in, flatten this one out. So I think what I'll do to flatten it out is I'll grab both of these, press S and X, and then you can see for press S and X, a couple of times, I can actually flatten that out really nicely now. Now, let's rub this press control all transforms, and then let's come in and add in a mirror. So a mirror modifier over on the y, turn that off, and there you go. Just realize how far you want the spread out from each other. You can imagine how big this scroll is going to be? I think something like that is actually absolutely fine. Now with the mirror, we could come in and grab this here, and then we could pull it out. Remember, we're working. We have no actual vertice or edge select or anything like that because we're still working with an actual curve. So remember that. What I want to do is I want to put clip in on what I'll mean is as I bring them out, it will join them both together. Now, for press and y I can actually pull them and you can see where the meat now in the center and that's basically what I want to do. All right. Now I want to do is, I just want to come to object, convert to mesh, Okay. And there we go, we end up with something like that. Now, let's think about mirroring them once more. I'm going to come down here and then going to grab each one of these because I want to bring them in. So if I come to let's say this one and this one and I want to bring them up. So I'm going to bring them up with proportional editing. Bring them up, pull out your proportional edits in. What you're going to do by doing that is you want to make them a little bit even. I've gone a little bit too far, as you can see. I also want to make sure that connected only is on, and then I want to bring them out, like so. Now you can see that they're going to go in a little bit, so that's going to make it really nice this scroll. All right. Now I want the actual how wide is this? I want to pull it out. Again, control or transforms, a mirror modifier, mirror on the Z this time. Turn off the X. I think that's going to be absolutely fine. Now, let's come in. Apply that and now find that we can come in with A. Make sure on edge elect and right click bridge edge loops. There we go as simple as that. You can see just how easy that was. Now, on this one, we do actually want to cut these parts away. I'm going to go in now and I'm actually going to press K and I'm going to start cutting just certain parts of these away. I think I'm going to actually, that's not going to work. I'm just going to right click. Press controls head and now I'm going to press K and come in and we can see that can grab it. Actually, that's not working either. I'm going to press the skate. Then press K, and now it's going to work. There we go. That's what I wanted. All right. Now, I'm just going to work my way around. Again, like we did with the other scrolls, I'm just going to cut my parts away. I think I'm just going to do this one and then we'll just end the lesson here because time is getting on a little bit, so I'm going to go around and do this one. Then when we come back on the next lesson, we'll actually come in, get rid of these and that will be basically our scrolls actually finished as far as the modeling part goes. I'm just going to tear it away. On these bits, I tend to just tear a little bit more away So making it pretty uneven. All right. I'm going to go out, save my work, and I'll see on the next and everyone. Thanks a lot. Bye bye. 55. Adding Seals & Stamps to our Scrolls: Welcome back everyone to Blender and unreal engine, becoming a dungeon prop artist, then this is where we left off. Now, let's go in and put in some more little tiny tears, like so and work on this bit here, so another tear on here and just work your way around. Putting in some little tears and you should be pretty proficient at doing this now. Unfortunately, though, it's a little bit time consuming. But the scrolls do turn out looking really nice. The actual fat, the scrolls, they could be basically a standalone model. They do look pretty good. You can basically have them show off your portfolio, and I think people would say, they look really cool. Okay, let's cut this one off here. And then what I'll do now, I'll do the top first before doing anything else. So going to come in, select all of these. Making sure I've not missed any. You'll notice I've done this actually first without doing the slidifi this time. You can do it either way, doesn't really matter and then delete and faces. There you go. That's looking pretty ripped. Now let's go to the other side. I'm going to grab this side. I'm going to press a just to grab thing because I find it easier to see where I'm in if I do it this way, cut this here. Let's see. Cut this one here. So my way around. So we'll cut this a little bit different. So and then this one on here. And then let's cut it along here. Now we had a big cut down there, so probably don't want to cut quite as much. I'm holding the control button, I just cut it away slightly, nowhere near as much as the other side. Like so, and then just wag the way around. Press the middle mouse to actually go where I want it. So and then just the way all the way around back to the beginning. I think maybe two or three more. Let's one two, little tiny one. And then finally, one more, maybe just coin the end of this off here, like so. All right. Now, let's grab them all with face leg now, work our way around so forget this piece as well. And there we go, let and faces. All right. That's looking really nice. Now, let's press control Ale transforms right click gin geometry, and let's bring in again, a solidified, making sure that they round about the same thickness as these as you can see at the moment. This thing is huge comparison, so it's very hard to see how that's actually going to work. It's also facing the wrong way. I'm going to actually come round and spin it round, so I'm going to press 90, spin it round, and there we go. Now you can see, I need to make it a little bit bigger. Something like that should be absolutely fine. Now if you want to spread it out or have another one that spread out, all you need to do is just come in, grab one side of it, so make sure you can see that has got an edge loop here, so you can just grab all of this side and pull it out and then you'll have a longer piece of parchment, for instance, if that's what you want. Now what I'm actually doing is I'm just looking now at the scale of it. I'm thinking that this actually is about right. I'm just going to put this on even thickness. I'm going to press tab then, control A. Now what I need to do is if I come in, again, we have the same problem, as you can see, we don't really want that. So we have to do basically what we did before. So if I press tab, press A, I need to come in now, I'll actually press it just so I can see where these cuts are, you can see that here and here. And then what I'll do is I'll come in mesh, bisect and cut this straight down there you can see it's going straight past all those cuts now. That's good. I'm not going to straighten this up. I'm going to press A, mesh bisect. Come down, put this on, and then I'll just move this one down now just up to that first cut. Now, I should be able to press controller and bring in three edge loops and there you go, solid. Now, To bring in to smooth. It looks really, really nice. All right. So they're pretty much our scrolls finished. Now, we actually start needing to bring in some actual textures for them. We'll have a look at what textures we've got to bring in for these and then we'll start getting those on. I think actually we already have a lever. I'm not sure if it's the right lever, so I will go and check that as well. Let me just actually put this on material mode, and we'll do is again, I'll just grab them all. I'll press control a all transforms, right plates of origin to geometry. Just reset all of the transformations and things like that. All right. So we have a leather, which is this one. Let's think about bringing in our parchment and maybe another lever. I'll do is, I'll grab both of these, shifty, bring them to here. Then what I'll do is, I'll come maybe to this one first, come to my material, and I'm going to pour it in. It says lever straps. Let's actually see what we've actually got. I'm going to go to my textures and course down the pack and textures and here we are. All right. We've got book covers dungeon, which one is this. Let's pull this out a little bit, so I can see. Dungeon gold decoration. That's the trim sheet, Dungeon additional ornaments, scroll details. So we've got this scroll detail here. So let's actually look. So you've got a stamp and you've got the text so the stamp looks like this, and you've got the text, which looks like this, of course. So we've got both of those, so we're going to need those. But the first thing we need to look at is actual, where is it lever? So you've got leather parchment, leather straps, level one. Let's have a look at our leather parchment first. So this is the parchment. This is the one that's going to hold all of it together. You know those scrolls where we've got them together. That's lever parchment. We know we've got that. We've got the leather straps then, which we could use on the outside of that maybe. We've got a lot of options here, and then we've got lever w. We've got that as well. Let's come in and bring in let's have a waist called again, I think it's called. Let's have a look, it's called I bring this over, we can see that we've got one when it load up, it's called leather parchment. This one here. This is what we'll call it. We'll call it lever parchment. Let's come in. We'll actually minus this off. We'll create a new, we'll call it lever parchment. Parchment like so. We'll also go to the other one and we'll call it T one is called lever strap we'll call this one one. Let's call it lever one lever one. That will be both types of leather that we'll be able to pick from if we need them both. This will be the first one then. Let's come to shading and we'll go control shift and t and let's go back and this one is called lever parchment. Let's find the lever parchment, which is this one here. Let's grab everything except of course, the direct x. Principle. Let's bring them in. Let's press dot zoom in. There is our lever parchment. Now, you can see that looks really nice. They'll be really fit for the outside one. Let's come to this one then, which is level one control shift. Then I'll go back one, and I'm looking for lever one, which will be this one here. Again, exactly the same process so there we go. Now let's bring in our decolor as well. What I'm going to do is I'm going to basically copy just one of these just so I can bring it in and show you them what they look like. So I'm going to press shift, bring it over. Then I'll just press shift again. What I'm going to do is I'm going to rename this one. This will be minus it off. Click the new and we'll call this decal writing, and we'll call this one then minus it off, new decal, stamp. So. All right. So with this one. Let's bring it in. Control shift t, and we're looking for this one that says, where is it some jaws we can wade around Dngon lever that scroll detail. We'll bring in the text first. I'm going to bring all of these in, including the opacity, which is this one here. L the principle. There is our writing. Now let's come into this one. This is the D stamp. Control Shift T again. Go back and we should have a stamp there. Again, we're going to bring them all in. Click the principle, and there we go. Now, let's just give them a test, make sure they work, so they should do. There we go, you can see jot down nice logs even got a little bit of three dimensional to it. The right you might want to make a little bit darker. We can do that, though. That's no problem as well. All right. Now we've got those in. Now let's bring in our actual parchment. I'm going to grab this one here. I'm going to press your D, bring it over. Let's put it onto material mode again just so we can see what we're doing. Then what I want to do is, I just want to rename this. I'm going to call it. This is called lever parchment. I think what I'm going to call this is scroll paper. Actually, I need to press control because I need to minus that off instead, click and now I can call it scroll paper. All right. There we go. What we'll do then on the next lesson is we'll bring in the scroll paper, and then we've got our actual materials that we need to work with. Then we can just start attaching them to our actual scrolls. And by the end of the next lesson, we should have all of those scrolls actually finished and able to move on to the next model. All right, Thanks L one. I'm just going to save it out quickly, and I'll see you on the next one. Thanks. Bye bye. Oh. 56. Adding Writing to our Parchment: Welcome back, everyone to Blender to Unreal Engine, become a dungeon prop artist, and this is where we left off. All right, scroll paper. Let's press control Ship T and bring it in. So let's go up and up again and we should have one that says Dungeon scroll. Let's have a dungeon scroll paper. There we go. All right. Let's bring all of these in exactly the same as what we always do. Let's click the principal and there we go, re really nice paper. Now what we can do is we can go and I think I'll bring a duplicate of both of these first, so shifty. Let's just bring those over because we're going to need those, and then the rest of these, we can actually just use the way they are. I want to grab this one first, press the dot board then what I do is, I'll bring in the paper. If I come first of all, and press A, and the thing is with the scrolls. Honestly, it might be worth We'll have a lot, but it may be worth wrapping these properly with seams. Let's actually have a lot though, because it's going to be a bit of a pain as well, if we do unwrap them with seams and things like that. But let's give it a try. What we'll do is we'll go to our UV editing. We'll press dot to zoom in, and then what we'll do is we'll zoom out. I'm going to press U. Wrap, you can see that we can't wrap it ide that, so we need to press and we'll do smart UV project. Let's try that first, and we can see we've got that. Now, let's apply that material. So we're looking for paper. There we go, scroll paper, and let's have a look what that actually looks like. You can see many, many lines down here. That's not what we want. However, we might be able to get away. Instead of doing that, we're pressing coming down, project from, and then pressing a bringing it out without portion editing on, like so, and there we go. I think that's actually going to be the way that we should be doing this because it looks much, much better. Even though you can see the edges are correct. You can see these edges because what it's doing is it's basically going all the way through, but I think the edges are so small that you're never going to see them. You can see we've got a little bit of bending in the middle of here and things like that, but not enough to actually see anything. I think I'm going to be happy with how that actually looks. I'm thinking Yeah. Actually, on these edges, they don't look very good. Thinking inside it, maybe we can get away with it, but on this one, we might unfortunately need to just go and mark a lot of scenes. What we'll do is instead. We'll come into this. We'll go to select and we're going to select where is it. I can select by edges. I'm just looking now to find select sharp edges there you go. I'm actually going to double tap the eight, select and then select sharp edges, and there you go. You can select them that way. Now, we might be able to use this instead to actually mark all of our seams rather than actually going in and doing it that way. I think we'll do it this way. What I'm going to do is going to right click, I'm going to mark seams actually think this is going to work out much better now. Then what I'm going to do is I'm going to press L on all of this and it should grab all of that going up to there. All of it the other side. I'm going to grab this one and this one. Actually I'm actually going to get rid of this scene. I'm going to make it easy for myself. I'm going to come in shift click, get rid of both of these, right click and clear seams. Now I should be able to come in, grab this, L and L. There you go. Unwrap and there we go, that. Now we'll wrap beautifully. All right. That's in tomb. Okay. I'm glad I did that. I'm going to have that out of the way. I'm going to grab all these now. I'm going to press you unwrap and there we go. These are also going to unwrap now, much, much nicer as you can see. All right. That's pretty much that one done. Now, let's come in. And we'll do our paper on each of these. So I'll do this one first. What I'll do is I'll grab. I basically want to split this off at the moment. So I'm just going to come in with select split this off. So LP selection. Come to this one. Same again, LP selection. Come to this one, and I'm going to do the same thing again. So I'm going to come into this sense par LP selection like so now what I'm going to do is just hide that out the way, that way and the way. And that then just gives me access to my actual paper. I also I'll come to this one first. We'll do this one first, so I'm going to press A, right click clear seams. I don't want those. Double tap the A, and then we'll go to our select and we're going to select sharp edges, so, right click and mark seam like so. Now, I'm just looking if there's any on the inside. I don't actually think there is on this one, which is really great. So what I can do is come. Oh, yes, there is. There's one there. You can see one going all the way down there. Let's look at the back as well. Yes, it is. Let's get rid of that shift and click or control click going all the way down it, right click Clear seam let's do the same On the inside. Old Ship click can't re that, so I need to come down to the bone, which is around there, as you can see, Ctlick right click and play. All right. Let's see. That's going to wrap, correct? So L's going all the way out and going all the way out and wrap. Let's actually put the material on. So we're going to put scroll. I think it's on the paper. There we go. Scroll paper. Let's actually put it on here as well while I'm there. Just going to grab both of these, actually, grab this one last. Press control, sorry, Control L, and then put in copy link materials, and there we go. All right. So this scrolls unwrap really nicely. If I come back to this now, I can hide it all out of the way. I can then grab everything else, press and unwrap and there we go. Unwrap perfectly. Now, let's do the same with this one. I think we'll end up with some marks in there again, so I'm going to press A. I'm going to press right click and I'm going to press Control instead, clear the seams and now double the A. Come up to select and we're going to select the sharp edges. I selected like that because I'm in face select. I don't want that, so I'm going to be in edge select, select sharp edges, right click marking. Now, we can see we've got this one here again, which we will have because we have that on the other one. Just look into where it goes through here. Clear seam. Come in round the other side then, grabbing this one, coming all the way up to this one, right click clearing seam. Now, come in with face select, L, L, Unwrap, and then finally hide A and then and wrap, and there we go. That's that one do. Finally, then this one. We shouldn't have any problems with this one, but we'll see. No seams even mark so let's brow edge select. It's like sharp edges, right click mark sam perfectly. All right. So now we can come in and L and L unwrap. Okay. There we go. And then finally, let's go in. Hide A U route. And there we go. Perfectly wrote. I'm really, really happy with how that turned out now. Now, let's come in and bring in actual writing. I'm going to spin this round so 90 and then R x not x, y, 90. I think that's going the other way, sorry, -90. Let's bring it over and put it into place. We're also going to squish it up a little bit. Something like this. I'm going to drop it into place. Okay. All right. So then I just want to see now what that actually looks like. I'm going to double tap the A. There we go. It looks really, really nice that. What I think I'll do though is I'll move it over this side, bring the other one in the little stamp, and I'll also put that on there as well. I'm going to just move it over, as you can see. I don't want to actually stuck out or anything like that, but I do want to move over to the side. Move it up like this, and then grab my stamp now. My stamp is this one here. I'm going to spin it around. 90, bring it over and then wrong -97, go over the top. To make it smaller, and I'm going to pull it into here. I think we're missing one actually. We need our wax. That's one thing we do need. I'm going to drop that onto that. I'm going to make it a little bit smaller. I'm going to move it over, move it over, like so I'm going to drop it on very gently, double tap the. And there we go with that is looking pretty nice. I think I just need to move it over a little bit more double tap the A. That's looking really good. All right. Now, let's press tape, bring everything back that we need. Now we'll need one more. I need to go back to my materials, and I'm going to bring in one more which should be wax. Shift bring that out. I'm going to minus this off. I'm going to put it on material, so I can actually see what I'm doing. It moves a little bit faster. Let's now go to new and we're going to look for something called red wax for scrolls. What we'll do now is we'll go to our shading panel, and I'll just quickly bring this in control shift T. Click the paro and I'm going to go down and it's dng wax, red. This one here. And let's select more like normal. Bring them in. Let's press dot, that's section working. Well, there is our wax anyway, so we've got all wax now ready for the next lesson. On the next lesson, I thought we'd get these scrolls done, boy. It took a little bit longer than I thought. So we should be able to get all of these finished named into our asset manager. All, everyone. I hope you enjoyed that, and I'll see in the next one. Thanks a lot. Bye. 57. Finishing the Scrolls: Welcome back everyone to blender luminary engine becoming a dungeon proper artist then this is where we left off. All right. Let's come in and first of all, we'll do our wax seals. Let's come into these and what I'm going to do is, I'm just going to click the down arrow. I'm going to type in wax and I want the red wax, and I'm going to do the same thing on here as well. Down arrow. I'm going to look for wax again. I could have just linked I guess the materials, but we'll just do it this way. Now I'll do is you can see we've got a lot of issues with these. Let's come to this one first. I'm again, I think actually better off on wrapping it the way we did with the actual paper. If I come to select now, come down to select sharp edges. Down here on the left hand side, you can see this is what it's based on. If I turn this down, you'll see we get more. If we turn it up this way, you'll see we get less, and now you can see you can turn it up just get that happy medium. Now if I right click, I can see I can mark seams in that way. Now, you will end up with still some infinite loops, and the reason you're going to end up with infinite loops is, of course, that it's a full infinite loop. So we need to get rid of that. So what I'm going to do is just mark a seam on the bottom up here, right click, mark seam. L hide that out of the way, and then I'm going to mark a seam going straight all the way down here, all the way down here, right click, Mark seam, and then that's that one done. Now, let's do the same on this one. Now, it should inherit those options that we've picked so let's see if it does. First of all, I'm just check in to make sure it's got no seams already. Then I'm going to go to select. I'm going to select sharp edges, and it's based on 32.9, which is what we had before. Right click, and we're going to Mark Sam. And you can see we've got some seams supposedly in there, but they're not they're actually behind it, so that's no problem. So I'll do now is I'll come in, I'll grab this one and this one, right click Mark seam. L hide it out of the way. And now, ship click, ship click, right click Mark seam. All right, AT, bring everything back. Let's grab this one first then. And what we're going to do is just press rap and there we go. You can see just how nice that actually looks. Now, let's do the same for this one as well. So we're going to grab it. All Tag, bring everything back. A to grab everything, rap. There we go. All right. That's those two done. Now we need is just to grab this and we need to put that onto here. I'm going to press Shift D and bring it up. I'm actually going to go to my UV layout because I'm going to actually want to wrap the other parts. Well, I'm going to press dot to zoom me all the way in. Press the tabor now let's turn this the right way. 90, 90 spin it round. Let's see if it's three or is it going to be control one. Actually, it's not the right way yet. I'm going to spin it round again, 90. Let's spin it round. Then what I'm going to do is, I'm just going to pull this out a little bit and try and get it into a nice place like so. Let's actually have a look how far we can pull it back. Let's pull it back, pull it back, maybe up to something like that point, and let's have a look on our render view. What that looks like Just the A. I'm thinking that maybe it needs to go back a little bit further. I think something like that should be fine. I think one thing I do need to do with these, I'm just looking. I'm thinking I probably need to pull this out a little bit, and I also might need to turn the saturation a bit. I'm just going to put this on proportional editing, which is where is my proportional editing. There it is. This one here. I'm going to pull it out very slightly, bring it in. Pull it out, like so. There you go. You can see look them there. But now we just need to fix the color of this. Let's go to our shading. Let's press got to zoom in. Should be able to zoom in. Let's put it onto render view, and let's bring in a curve. We'll bring in a curve I think first. Shift under where the color is, we're going to bring curve. Drop that in there. And then one to the Jaws going to bring this down. You can see already that's looking much much nicer. Now, I just want to get rid of this lightness as well. I'm going to also bring in u and saturation and saturation. Let's now bring down the saturation jaws a little bit. Like so now you can see it's starting to fit in much much better than what it did before. I'm thinking of bringing the value down a little bit, double tapping the eight and now thing that looks much, much better than what it did before. All right, so I'm happy with that. Now I can go back to my modeling, and then what I can do is I can come now and grab this so I should be able to press dot this time and come round. Grab it, press shift and bring it to this one here. Drop it in. Where it needs to go. I'm going to pull it out. I'm going to make it smaller now. I'm going to make this one a little bit dinkier than what the other one was like that. I'm going to double tap the a check on my render view. Check on my render view, and there we go. All right. Let's do mount. I have a look at that. Yeah, and that looks absolutely fine. All right. Let's now come to our material. And now we're going to do is this leather actual strap. I'm going to click the down arrow. I'm going to put in. I think it's called. Let's just put in leather because we should have three to pick from. So leather parchment is this one here. And then what we're going to do is pretty much the same thing because we level, we would probably be able to see it. Let's have a look first of all, so you can get away with just pressing, smart reproject, and let's have a look what that looks like, and you can actually see that's probably turned out absolutely fine. I don't think we need to actually do anything with that. Now, let's come in and change this though. If I come in and I grab the front of here and the front of this one, press control plus like so, and I'm just going to check my references to see what they look like. I'm going to grab my reference and I'm just going to pull it over and you can see that we have got this metal ish, so that's the one I'm going to go with. What I'm going to do is I'm going to go out now and I'm going to look which one I actually want. We've got a, let's put it onto cycles render, have a quick look, can see we've got these types of metal, probably probably going to be this one here. If I click on this, we can see it's rainy. Let's use the onrain for this. Let's put it back on material. Let's go back to this, press dot, press tab, and now we'll plus down arrow, and then we'll look for iron. Grain click a sign, and there we go. Now, let's just have one quick look because we might need to go a little bit further back at the moment. We'll have a look first, see what that looks like, double tap the A when it loads up. Yeah. I'm going to just swap it over and I'm going to try on doc look at that. I actually think that looks bad. I think I'm going to go with the door. Now, the one thing I'm looking at is, do I need to go further down? If I press tab, press control plus, click a sign, press tab again. Yeah, absolutely. I need to go down to there, so you can see now it looks so much better. All right. Now, let's come back to our material mode. And what we need to do is we just need to join everything up now. So if I grab both of these, and this press control, and then we'll join this and this Control J, this and this control J. I'm just going to see all that's joined. No, it's not. Let's join it all together. Control J. Then finally, let's check this one. We'll join all this together as well. Control J, G and there we go. Now I'm just grabbing each one, pressing G, make they all come together and there we go. All right. We finally got there. Let's now go in and name all these. I'm going to grab this one first. In fact, I'll make a see collection. I'm going to go down. I'll call this scrolls. Like so, and then I'll grab this one, I'll call it small scroll, like so and then this one large scroll then I'll call the next one sealed scroll. So sealed scroll so I don't want that in there. So let's get rid of that. And then finally parchment parchment Okay, now we can grab all three of these, grab them all right click and we're going to mark as I set. All right. Now I'm going to do is I'm going to drop these into my actual scrolls and we should the left with something like that. I'm just looking to make sure everything's clean. Now finally, I'm going to put these over. I'm going to press 9,090 to turn them around the right way. Then I'm going to drag them out and put them round there something like that. So, I'm going to pull these scrolls to the back and then put this to the front. When we've got a bookcase, we might actually put some of these in. All right. There we go. You can see now we've got some really beautiful assets and the scrolls just really, really add to it. When we put it onto our render view, you can see that those blackness of those things, you can see just how nice they actually look now. How nice everything looks actually. All right. I hope you're really happy with what you've got so far, and I'll see on the next one, everyone. Thanks a lot. Bye bye. 58. Working with Perimeter: Welcome back, everyone to Blender and region, becoming a dungeon Pparis. Now, to become a dungeon Ppartis, you need to be good at creating larger props as well as small props, so it's about time that we actually created something a little bit larger. So what we're going to do is actually create our cage. I'm just going to show you this is the cage. This is the reference you'll need, whether you print it on the left hand side and your monitor or in Blender, make sure you've got this one. All right. Now we're going to do is we're actually going to bring it in. To create our cage, you'll actually find, which is quite surprising that you're actually going to bring in a cylinder. From that cylinder, we're actually going to create all of that work on the cage. The first thing I'm going to do is I'm going to bring in a cylinder. I'm going to bring you right in the center and the next thing I'm going to do is I'm going to put this on ten. And the reason I'm going to put this on ten is because we're actually going to use this four outside of our actual cage. Let's make it smaller because the first thing I want to do is make sure I'm going to right click and set the origin to my little gauge to make sure he's in the right place, seven. I'm going to put him inside it and making sure that it is the right dimension. You can see that he's got too much room really in this case, it needs to be a little bit smaller, needs to have his arms right up against the so that's looking more or less the right size we someone was in there, I think that's going to look much better. Now we're going to do is just make it a little bit bigger. If I grab this, make it a little bit bigger, press one. What I'm trying to do is just get it to be the right dimension. I want to where his head to be it to go in there. I'm going to press S and pull it out a little bit, pull it down near enough to where his feet off. Then what I'm going to do is I'm going to grab the top of it, and I'm going to pull it up, so I'm going to press one. I'm going to pull it up, so I'm going to press S without portion of it. I don't need that on right now, so then pull it up. Making sure it's round about the same width on here, press the S one, put in, and then it's just flaning out just that tiny bit because it will be a little bit smaller round about the same. All right, let's press control. Let's bring in three edge loops, three, left click, right click. Now I'm looking for is to actually probably squish it in a little bit because it's a little bit too large at the moment. What I'll do is grab the whole thing. Press and bring it in because they're not going to be stored perfectly up here. Now I can bring my guide to the side and you can see basically, this is how much room they actually have. That to me looks round about right. If you make sure you've got your something around this size, that will be. And then we're going to do is we're going to go in and we're actually going to grab all of the edges going around them. So all of these edges, so I'm going to come in, shift click, grabbing all of the edges going around, except I don't want the actual top and the bottom one. So I could press A, and then old shift click, can do it this way instead. So l shift click, and you should then have grabbed all of those. Now what you want to do is you're actually going to create the bot. To do that, we're going to press Control B. We're going to pull them out. Now you can see they're not coming out very even at the moment, and the reason is because we need to reset all of our transforms. Control A, all transforms, right click, set origin to geometry and just reset all of those transforms, and now you can go back in. Now when you press Control B, this should come out a lot, lot more like an actual cage, or even. Left click, right click and there you go, you should end up with something like that. Now we're going to do is going to prey on face elect and I'm going to come in and minus off all of the minus off all of these faces, just leaving me with that actual outer cage. Nearly, make sure you don't miss any. Just have one more look around so. Not miss any and there we go. Now we're going to do is we're just going to press P selection, minus it off, and now we can get rid of the other part of it and you should be left with something like this, which you can see already looks pretty much like a cage. So now we've got this. Let's actually solidify. I'm going to grab it again, Control o transforms right, click origins geometry. And now I'm going to do is I'm going to go into my modifiers, add in a solidify then I'm going to just put it on even thickness and turn it on, going inwards like so, and you can see now, now we're really starting to actually get somewhere. Straightaway, once I've got the cage thickness, this looks easily thick enough to hold someone and also hang from a point. I'm now going to go in and apply my actual solidify. Okay. Now, I'm just going to put this on object mode just so I can actually see what I'm doing. Now we want some variations in there. You can see at the moment, it's all pretty flat and that's not something we want. So what we want to do is we want to come in and we want to grab each of these outside edges going all the way down like we're just going to pull these out a little bit. All I'm doing is pressing **** click, control click, **** click, control click, s going all the way around. So making sure we grab them all. And then what we're going to do is we're going to extrude these out. So if I just keep going all the way down. Now if I press Enter and then press altern, I can bring those out, making them a little bit thicker than those inner bars there. And I I press tab now, you can see that it's really starting to come together now. Now, I want to make this also a little bit, make it look a little bit different than just flat edges or something like that. All I'm going to do is I'm going to come in. I'm going to grab let's say three of these spaces. I'm going to come to select. I'm going to go to where is it? Let's find select similar permer meter, and then that will select all of those few. Now we're going to do it pretty much the same thing. If we press enter, alter, we should be able to bring those out. And now, once we've brought them out, what we can do is we can put this onto individual origins. Press the S born, bring those in, and there you go. You can see really, really nice tMque doing that. Now, finally, what we need to do is need some actual points on the inside as well. We might as well use the same technique as what we've just used here. Obviously, these ones we need a lot more spiky let's go in and we'll grab one, two, three. Same thing again, select select similar perimeter, and then we can press enter lens, bring them in. Then we've already go on individual origins. Press the S borne. And there we go. Our spiky cage and it looks really, really nice. Alright. So now we need an actual bomb. I'm just going to pull up my actual reference just so you can see, so you can see on my reference, we've got a beautiful top on here. We've got a nice bomb. We've just a little bit of ornamental work. And then finally we've got this chain and then this hole. So I'm just going to put that over left hand side, and that is actually what I'm going to be working on now. All right, so let's actually come to the center of it. So let's press Shift S selected. Shift A, and let's start with the bottom. I think the bottom will be the easiest plate start. I'm going to bring in the cylinder. I'm going to turn up this to something like 18 this time just so I can get a nice roundness on it. And then what I'm going to do is going to press S. I'm going to bring it down then to where I need to be, so it's going to be right at the bottom. Now the thing is you might want the bottom of yours to be bent in a little bit, if you do, like on actual reference. And all you need to do, you can just probably get away with grabbing just the bottom up here, like so. And bringing them in based on medium point. I'm going to put this onto medium point. I'm going to put my actual proportional editing, and then I'm going to bring them in with the S point and now you can see we can actually bring them all in together really nicely. You can see I've got one miss there. I need to grab that one, not that. Then I should be able to bring it in. Let's try again, bring it in. Yeah, there we go. Let's look really nice. Let's bring this up then. So we're going to bring this up to the underneath of it. Then what I'm going to do is I'm going to make it smaller. And then we're going to bring it up, and then going to make it bigger, and then I'm going to bring it down. Just one it fit round about there. That looks absolutely fine. Now, let's grab the bottom of this and pull it up. That's the size of want it. I'm going to grab this then. I'm going to press shift D because I'm going to use that to create my bars. I use that, pull it down. Then I'll just delete this and delete bases. Grab it all shifting click to altern bring it inwards this time. Just so it's past those bars there because it would be past those, of course. Now I can press control. Two left click, right click, Eons, pull them out. Come in, grab them, shift click enter Altern, bring it out very, very gradually, like so. That looks fine. Now, let's think about the bombs off here. We're going to come in to this one, and what I need to do is probably better off bridging the edge loops, probably going to be the quickest way. I'll delete only faces. And then I'll come in and I minus, let's say this one and this one, right click and we're going to bridge edge loops, and we should end up with something like that. All right. From here, then, I should be able to make now the actual bars. If I press control B, I can make my bars just like that. I can then press bring these up. I can get rid of this then, L lete vertices, and then I can grab each one of these because it's still part of this. I can then press, pull it, and now can put these into place and beside our bigger one them. I'm just going to actually separate them off for now. P selection, tab, grab them again, control A all transforms clicks the origin geometry. And now let's bring them all, put them into place like see that they're very close to poking out a little bit, so I'll just press S, bring them in very slightly. Double tap the A. And there we go. That looks absolutely fine. All right. On the next lesson, then what we'll do is we should be able to at least get the mobbling section of this cage actually done, where you can see it looks really, really nice already. I'm going to go save out my file, and I'll see on the next and everyone. Thanks a lot. Bye bye. 59. Finishing off the Cage Model: Welcome back, everyone to Blender and a Engine becoming a dungeon props, and this is where we left off. All right. Now we've got cursor in the center. Let's bring in another cylinder. So let's bring a cylinder. Let's bring it up to where we needed to go. Let's press head and bring it down like so into place. Now, this needs to be relatively thick on here, and the reason is because obviously it's holding a lot of weight. I also want to make sure that when I lift this up, these are actually underneath there, so it looks actually like they're actually into something basically. Let's probably pull it out a little bit more, and then we'll just grab the top of here, so the top like so, and we're just going to pull it in. I'm just going to press S and pull it in like so. Now I'm going to do is I'm going to grab the bomb. I'm going to press, pull it all the way in and then press. Like so because you will probably be able to see in there. What you also want to do is because there's actually a big chain going in there, you want to make it look as though it's actually being held on something. So we're going to do that on the inside. If I come in now and a press I like so and bring it all the way in, and then I press, you can see now that that actually looks like something's being supported in there. That's the actual look we're actually going for. All right. Now let's come in and give these some extra things on the outside. I'm going to grab all of it going round. I'm going to come to select, and I'm going to go to check a D select Now I'm going to press tab, quickly reset all my transforms. And then we're going to press, bring it in. Then we're going to press enter alternS bring them out, like so. And then finally now, let's bring them in, but we'll bring them in only on the y if we can. So let's see if we do that. We'll go to normal on our global and we'll make sure that we're on individual origins. Now if we press S and y, we should be able to bring them in just on that axis in like that, and they look really nice. Let's then put this back on global now, and now we should be able to carry on working. All right. So I think I'm going to pull this off just a little bit more like so. And then what I'm going to do is I'm going to press and bring it in. Like, remember, whatever's holding this, it needs to be fairly chunky because of the fact it's holding a person in it, so we just need to take that into account. Bring it up. Look in how chunky this is, I think it's going to need to be a little bit more chunky. I'm just going to go back to this pressing control plus. Then I'm going to pull it up. In fact, not that I'm going to press control minus. Then I'm going to pull it up, and that looks a ton better like that. Now finally, this part here. Let's come in, grab the top, and then and then I, and then and pull it back into place like so. Now, is that enough to actually hold something something in there? I think it can do with coming out a little bit, so I'm just going to press S, pull it out, so that's looking good. That's looking very, very nice. All right. I think I'm happy with that. I'm just wondering whether I want a little bit coming down here. I think I'm going to just pull it up, and I'm going to put in an edge. Yeah, I'll just grab this. I'll grab this. I'll press, pull it down, and now I'll just drop the whole thing down again. On top of there, like so. I think that's much better like that. Let's actually shade it off smooth so I can actually see we're looking at, so smooth and then I'll just start now on the top of it. All right. So let's now bring in some change. I'm going to grab this big pressure de sa selected. Let's bring in then a curve and we'll bring in a circle. And what I'll do is I'll bring this all the way down to probably let's have a low bring one. Yeah, maybe something like that. I'm thinking Yes, I think I'll actually have it as a chain. Yes, like that. I'll do it fully as a chain. Then what I'll do is I'll press S and y and bring it in. And finally, y, 90, S, bring it down, and now I can pull it all, there we go, that is where I want it right in the center of here. You can see this is the size of the chain. I'm going to spin it around, actually. I 90 just so it's facing this way. I'm going to put in a little bit smaller like so. Now I need to do is I need to bring that thickness out. I'm going to come over to my options on my actual curve. And what we're going to do is going to bring out the depth of this. Bring out the depth. Now I can see that I need to make it a little bit smaller like so. Now it should be able to fit inside. Now, we do want something in here, so it looks as though it's being held with something. What I'll do, I'll actually press shift, bring it up, spin it around. I'll say 90, we put it the other way, and now I can go in and mess with this one. I think I'm happy with everything on there. I'm going to go to object, convert to mesh, and now you should end up with something like that. Now we can just pull this out. Shift and click. I think we'll we'll probably just do these two for now. What I'll do instead is I'll just press to alter S and pull those out. Let me just go back, l you can see, is it coming out? Yes, it is. There we go. I think that actually looks good like that. Again, shade smooth. Autos move on. Let us actually think about taking that up a little bit. Can see we can take up that much. We're still going to have this little bit in the middle. So what I'll do is, I'll come in, ship click, Control B. Just level that off, so it's nice and clean in there. Then what we'll do is we'll have maybe another two chains on top of this, let's press shift, bring it up. This is still a curve, by the way. I 90, make sure that they interlocking there. You can see it's a little bit out on this. Then what we'll do is we'll press shift again. And bring it up. Press 90, and again, just make sure it's interlocking like so. All right. I'm happy with that. Now all I need is a top four here. Again, I'm going to press Shift S, Kysa selected and we'll again we'll use actually I think we'll use a cylinder. Shift, let's use a cylinder. We've got it on 18, which should be fine. I s going to come down, bring it down. I'm going to put it like this. I'm going to spin it round, so y 90. I'm going to press S and x, bring it in. Like there. I'm going to press tab, grab this side and this side, delete faces then I'm going to grab this one, this one, let faces L delete like so. All right. That's looking good. I think I'm going to need I'm just figuring out. I think actually probably I've probably put this the wrong way round, so I'm going to grab it. I'm going to press Z 90. I think it's going to just look bad like that way. If I put that to there, and then extrude this out, solidify it and then put it against whatsoever is going to be holding it because it needs to be quite chunky this anyway. So I think we'll try solidifying it first. Let's press control a transforms, click the origin geometry, add modifier bring in a solidify. Let's make it even thickness, bring it out, not so far, pretty chunky, something like that. Okay. And I'm thinking, let's even bring it out a little bit more so I can make it a little bit more chunky. Yeah, I think that's going to do it. That will be about right. Now what I need to do though is you can see the tops of here. They're not right because they're not level. I'll do is I'll just press Z, and I'll bring them up and now you can see that's looking much much better like so. All right. Now let's make the top of here. Again, first of all, they'll bring in a cube. It's going to come in the center anyway, so that's great. Then I'm Joe going to put my cube on and then S and X, pull it out, and then let's grab the center of it. Like so, maybe a little bit thicker. I want to grab both of these sides and just pull them out. So S and y And if they don't pull out, make sure you're on medium point. S and y, pull them out, like so. All right. Before we move on, let's actually grab our extra part here. Let's press shift, bring it over. Let's fin around completely. So y hundred 80, and then let's press control seven, so we can go over the top and see how small we need to make that. Fortunately, we need to hide this cage out the way just so I can see what I'm doing on the top of here and now I can see where that needs to go. I'm going to press S. I'm going to put this into place. Roundabout here, and then I'm going to press S, make it a little bit smaller. Then what I'm going to do is I'm just going to press dot, just to zoom into it and then just pull it all the way up to that part that I've actually created. Dot again. There we go. It's in now. All right. Control seven to go over the top again. Shift D. Shift D, and finally shift D. There we go. All right. That's looking pretty nice. Now, let's convert all of this mesh. I'm going to grab it all. I know some of it's already converted, but can you can just click it. Convert mesh, press Control J. Join together, Shaemo bring in your auto smooth and there you go. You're going to have to turn it up a fair wag bug because you've obviously got a lot of chain on there, so just turn that and then it should be fine. All right, so I'm hoping that it doesn't mess around with my actual cage. Now, the one thing about the cages that I want to make sure first of all, you can see, I've just got my cage selected. So I want all of this and the cage selected, press Control J, and then let's also select this part here. So these parts here, control J right click shapes move. And let's put Autos move on. And now you can see it's all joined together. Let's press control A all transforms, right click. SginsGeometry. And what I'm wondering is if I should add in a bevel modifier. Let's come in, add in a bevel modifier, does it make it look any better. I think actually it's going to make it look a little bit better. We need a little bit of edging on here. I'm just going to have a if I turn this down. Think at the moment, we actually getting those edges apart from on this part here. I'm just going to put this back on 30, like so you can see that because I brought in this, if I just hid it out the way, you can see what it's doing is. It's not really doing what I want it to do. If I turn this down, it's not really working correctly because it's just kind of adding something like a smoothing effect on them. We don't really want that. I'm just going to turn my clamp overlap off, and then I'm going to drop this down and I'm going to see how I can get it if I can get it to look right, bring this down, bring this down, bring this down to something let's bring it up a little tiny bit. Something like that, I think, Let's maybe a bit more bring it up a bit. Yeah, I don't actually think it's going to look bright. You can see we've got a lot of problems on the inside. Do you know what? We're not going to actually add the bevel to this. I think it's just going to look bad without it. So I think I'm going to leave it. All right. So next lesson, we'll actually create the wooden support that comes across here. And then finally, we should have this finished. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 60. Adding Textures to our Cage: Welcome back everyone to Blender and real Engine becoming a dungeon propios, and this is where we left out. All right. So now let's build up in fact, I think we can actually join all of this together pretty much. If I join all of this, just going to actually check, check this object, convert mesh. Okay. And then what I can do is now I can pull this up to where I actually want it. So something maybe something like that. And then what I can do is I can actually start now building this together. So I'll grab this part. We do is I'll come in, grab this part, press shift as the select tab shift A, and let's bring in a Q then will be the wooden support. It needs to be relatively thick, of course, because it is holding an entire cage on the bottom of it. So let's bring it to something like that. Let's pull it out then. So I'm going to pull it out to maybe something roundabout there, and then one I'm going to pull it back. It would be probably relatively close to the wall because this is you don't want to leading too far out and be a lot of weight on here. So just to take that into account. Well there is, I'll grab this now press shift or 90, and I'm going to put this into place down here, like so and probably make it a little bit longer. All right. Now I'll do is I'll grab this again, shifty and I'll pull it to here, pull it in then, S and y like so. And then what I'll do is I'll pull it up to here. And then I'll grab the bottom of it, pull that in to where it's going to go, and then I'm going to grab the top of it, pull it over and down, and then just put it in like so and a thing, that actually looks pretty nice. Now, let's just hide this out of the way. So just grab this face, hide it out of the way. And I'm thinking, can I pull this a little bit more this way? Press salt age, it's still stuck in. So what I'll do is, this is going to be stuck in the wall anyway, so it's not too much of a big deal, so I'll just pull it out a little bit. All right. So now let's make the metal parts. I'm going to grab this part. Shift S because it selected. Shift let's bring in a cube. Let's press S. Let's bring it up into place like so. Maybe a little bit higher. Yeah, I think that should be absolutely fine. I think I'm going to do is just move this back a little bit. I think what I need to do is just make this a little bit wide now for a bit more stronger support. S and pull it out. That looks much better. Now, the end of it, I actually want to be bowed out a little bit, so I'm going to press control of, click, bring it up to rob here, and then control of, bring in three edge loop, something like that, flick, plate. And then we can actually come in, grab the end of it, make sure the portal editing is on, press the SP just slightly bring it out like so. All right. That's looking pretty nice. Now, this I actually want to bevel off. I go to press control all transforms, right click, origin geometry, shades move, Auto to move on, and then bring in my bevel now. So I'd modifier turn it all the way down. One, I'm just looking to see if that is low enough. I think with the wood, that's fine. I think with the mel that it needs to be a little bit further down. So what I'm going to do is I'm going to grab this mel piece piece selection, grab it again and put this on 0.1 or three, maybe, something like that. Maybe no point or five. Yeah. I think that looks just a lot better. I think also before applying these, I've leveled this out a little bit too much, I think, so I'm just going to pull it back in a bit. Yeah, that looks much, much better. All right. Now we need is a bolt and I'm thinking, can I take a bolt from under here? Probably can, so I'm going to grab this both D, bring it down without portion of its on. Spin it round, so 90 and then R hundred 80, spin it round like so, and now I'll just pull this into place, press S, make it bigger. I'm basically going to put it out here, so it's holding this part into place, press one, and then line like so, and then let's put it into place like so. Now, let's grab it. Shifts 100872 over the top, put it into this side. Then I can grab them both, selection. Then I can apply my bevel. By over and over pressing Control A and then the same on this one. Control A and then grabbing both of these bolts and joining all of this all together. Lill Finally, then I should be able to join all of this together. Let's see if we can control, join it all up together. Make sure auto smoothie is on. I'm just looking can get away with a little bit less. So if I bring this down, the thing what's going to change is my actual chain. I just need to keep an eye on my actual chain. Can I get away with that? Is the rest of it looking relatively flat and I think it is, I think that should be fine as well. All right. The other thing you can actually see, there's someone here. What you can do is you can go in, grab it all right click and just face lick we should be able to shade flat. There we go. Now it looks bad apart from this bit. Actually, I'm not going to do that. I'm going to shade smooth. I'm going to bring this down then til we get rid of that, bring it down down down. There we go next flat. Then I'm going to look at this chain. I think what I'm going to do instead is I will grab each of these P selection, and then I'll grab them again. Control transforms, and I'll see if I can actually subdivision them off. All right. I'll do it that way. Control. And you can see there's a lot more subdivisions on there. But it does look a tomb, so we'll do it that way instead. Control J. And now we should be able to put this around about 30, and now it looks eight tomb as you can see. All right. So if you ever come across that, that's the way you can actually fix it. Now we need to actually bring in some materials. Now, we already have pretty much all of the materials we're going to need. So if we quick come on materials by, let it load up. The one material we need is this one and this one. These are the only two, so we've got on dock and wood stylized plank dock. The bolts have already got their material in, so let's come now and unwrap this one first. I'm basically just going to press tab, grab it all. When it actually works. There we go. A, grab everything. At. Just make it sure everything's there. Smart U V project, click Okay, and now let's bring in. Well, you can already see that we've got stylized wood on here, and I think if we minus everything off, that will be the easiest way to go. So if we minus this off in object mode, and then we'll keep our in old on there because that is this one. Then all I need to do now is click the plus bone down arrow. I'm looking for wood. Stylized plank wood. I don't think we wanted. Let's have a look at actual doc and then what we'll do is we'll come in now, not that one, T one and this one. I'm just looking because it looks, it's not. Now we can just assign that like so. Let's have a look. That might actually be okay. Let's click the plus and the down arrow, and what we'll do is we'll look in wood again, and we'll just bring in the normal wood as well. So we've got two options. And then what we do is, I'm just going to quickly add on over to our UV editing. I'm going to spin these round. A R 90, spin them round, press dart to zoom to it. Now probably think actually they look really nice as they are. What I'm going to do is I can swap these over now I can click a sign. I think it looks better with the lights one. I'm just going to minus that one off. I'm going to go back to modeling now. I'm going to double tap the a and there we go. That actually looks. Really good. Just having one more log around it, just making sure I'm happy with it, and I'm happy with that. All right. Now what we need to do is we need to go and put in a new collection, and we'll just call it cage. We'll keep them split. So I'll call this cage like so, and then I'll go to this, press the dot, and I'll call it cage. I'm just going to press G, making sure everything's with it, which it is. Now I can just pull this down and put it into my actual cage and then pull that up. Now what I can do is I can right click and mark as asset, and let's go to my asset manager, onto wall, and I'm looking for now this one here. I don't know why it's upside down. Who knows why it's come in like that? It should come in. Actually, it hasn't come in the right way. Let's see. I don't actually know why that's happened like that, but we'll try and resell the transform. So what I'm going to do is, I'm going to come to my cage. I'm going to clear asset, and then I'm going to resell the transformation and so control clip origins geometry. And now let's see if I bring it in as a marks asset. There we go. Now it's coming in the right way. So we know now what the issue was. All right. That's that done. Let's put this out of the way then. Okay. And then that is another asset down. Okay. So the next asset. I'm just looking on my list that we're going to be working on is going to be the bookcases. Let's work on the bookcases next, and then finally after that, we'll probably start work on our banners, so that's something else that's quite relatively difficult to get out of the way. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot by bye. 61. Starting the Bookcases: Welcome back everyone to Blender and real Engine becoming a dng prop, and this is where it left off. Now, the first thing I want to do is go to modeling, and I want to actually bring my guy over. Put my cursor in the center, ship de cursor to world origin. Now before we make a start just make sure again, you've got your references open. You can see we've got two types of bookcases here. I think the first one we'll make is probably this one here. You can see we can make a variation on them as well, and I think we'll also fill up our bookcases just so you have an idea how to do that. We'll put those over to the other side. Okay. And now we'll bring in well, we'll start with a cube, actually. So what I'm going to do is I'm going to bring in a Q bring in a que, I'm going to bring it down to the ground plane. Now, you can see pretty much for bringing that guy over it. That's a good size for an actual bookcase. Obviously, though, it's too thick, so let's grab it. Let's press S and Y and pull it in a little bit, something like that. Then also, let's make it a little bit higher, so we're going to go to the top of it, press one, and pull it up a little bit, making it a little bit higher, not too high, something reasonable. All right. So now I've done that. I think there is I'll take both of these sides and I'll use that to start my actual bookcase. So what do I mean by that? Well, I think I will split it basically, so when a press control, two, left click, right click, S and X. And basically building anything like this. It's all about how you start it off, which can make it really easy. A you know, pretty hard for you, it's as simple as that. All right. So I think then what I'll do is, I'll grab this going round. So t shifting click. I'm going to press y. And then what I'm going to do is I'm going to push that back. So I'm going to press S and y and pull it back. And then this is going to be these kind of drawers and things like that are going to come out. Then what I'm going to do is I'm going to make this a little bit easier for myself as well, because what I'm going to do is I'm going to bring this down then, like so. And that then will be these kind of draws for. I'm going to show you this one here. So this is one that we actually going to work on. All right. So now I've done that. What I'm going to do is I'm going to fill in these faces, so I could probably grab it all, come to mesh, clean up, fill holes, and that then is going to fill those holes in for me. That's really good. And now I want to do is I just want to resell the transom. Control A transoms right clip. RginGeometry. And now I want to do is I want to put an edge loop on here to make these kind of drawers that we need in this bookcase. Control, left click, right click. And I also want one going around here as well. Control, left click, pull it down. Something like that and then we're still going to end up with that little bit of a lip on the bottom. All right. Now let's come in, grab both of these faces and press. You'll notice they both come in together and that's not what you want. Just press again and there you go. Now you'll be able to bring them in completely separate. I'm going to pull them to there. Then what I'm going to do is I'm going to pull them out, like so, and then we're going to press, and then we're going to press and then again, and then S and it should Okay. Bring them in individual origins, like so. There you go. Really, really nice already. All right. Now, let's make the two shelves that are going to go on here, or maybe we'll put the shelves enough maybe we'll make the top of this first. To do that, I'm actually going to probably just grab the top of here, so shifty then I'll press Control, left clip. Control, two, left clip clip. Grab the center one, put this on proportional edit and then just bring them out. Like, I think we'll use that actually, I take this off now as the start of this bit that slopes up. Now for slope them I wonder if slope blight, that looks absolutely fine. Now, let's grab the whole thing. Let's press and just simply pull it up, then press S and's and just straighten it all like so. You can see now we've got that really nice part of this. All right. Now on the bookcase, you'll see in the reference, you'll see that. Those bits are the top, they also go to the sides and I don't actually worry the one on this one, so I'm going to change that little bit. I'm going to pull this up into place and on the top of there, of course, it's going to be in my flat there that goes on the top. So what I'm going to do instead of doing that is I'm going to come into both of these. I'm going to press the y bond and bring those in. I press the y bond again though, to make sure they all come in at the same. And then I'm going to grab the center, do the same thing. I then what I'm going to do is I'm going to grab all of these now and just pull them out. Pressing pull them out, like so and there we go a thing that looks just much better than how we add the other one. Now we need some shelving in here. I'm going to come in. I'm going to put this on object mode as well because they always find it easier to actually work when I'm in actual object mode. I'm going to grab both of these. I'm going to press it deep, bring it up. I'm going to press delete, and I'm going to limit or dissolve it just to get out of that center one. Then I'm just going to line these up. Maybe one here. Let's actually extrude it as well. Make it into an actual shelf and you'll see that that actually looks pretty nice. Let's pull it back a little bit. So let's grab it. Pressing one, shift D, and bringing it up. Now we just need to work out the sizing. I'm going to press L, bring it down, and maybe something like that. Now, the other thing is with the bookcase, as you can see, probably, it's way way two way thick. We're going to have to pull it back a little bit. So I'm going to grab all of the parts. I might as well pull it back together, like so and then pull them all back like so. Here's a bookcase. It needs to be quite big but not that big. Now, the other thing I'm going to do is I'm just going to grab one book. I'm going to press 50, and I'm just going to use this as a scale just to see. If I put the book there, you can see, it's not got a lot of room going above it. Let's come in, grab this one, L, pull it up, and then let's grab the book. Pull it up. Then grab this one, pull it up, and there we go. That now looks much much better. All right. Now, let's grab this book, press delete. And then what we'll do now is we'll start with the rest of it. First of all, we need something for it to sit on. Let's press shift. Let's bring in a cube. The cube, you can see, it's right side. Let's put it out a little bit with S and now let's bring in the front and t's bring in the back. The back I'm going to leave a little bit more. Then what I'm going to do is I'm going to grab it all with L, pull it all the way down to the bottom of here. Then I'm going to grab this bomb, pull it all the way up. Yeah, I think I'm happy with that. Then I'm just going to bring it out now. If I press, pull it down, and then S pull it out, and then I'm going to also pull it out this way as well. S I pull it out, and then finally, pull it down, so I'm just making sure it's a nice stand. Now the thing is, I'm not sure whether I've made that yet, probably a little bit too wide. I'm just going to press S and X and just bring it in a little bit. And that log just a tomb now as you can see. All right. So that's looking good. The other thing of course is we're not going to top on yet. Now we can make a top as well. Let's probably use this part. So if I press D, bring it up. Let's spin it around. Right spin it round, like so, can see that it didn't spin around properly and the reason is, of course, control a transfli origins geometry, and now right, and now it's actually gone in much, much better. Now, all we need to do is we need to sit on top of that like so, and then we'll also on this one. We'll also put a bit of a groove in there as well. I'm going to press control. Left click right plate Control B, pull that out, and then enter altern and then just pull it out like so. Now you can see that's looking much, much better. All right. Before we do the back of bit, let's bring in some kind of bits maybe on this bottom and on the sides here. We'll do the bottom, let's come in. Control off. Left click, right click Control off. Left click, right click, grab them both with t shifting click. Let's pull them down and we'll have them probably round to maybe round to here, something like that. Just going to bring these out very slightly. So I'm going to grab this one. Probably going out to here, the front and the side then, I guess, and then we'll press enter lns and just pull them out very slightly. Now, you will notice that they're pulling out in a very weird way. But if I let go of it, come down over to the left hand side, you can see we've got one that says even offset, and then you can just even them all like so you can see that looks really, really nice. All right. So now the next part is just going to be this parts around here. So we're going to press Control. Left click, right click Control, left click, right click. Shift click, bring them up, and then I'm just going to press Control B, pull those out, like so, and then I'm just going to expand those out. I'm going to expand them out from not the bag. I don't want to do the bag because the back is going to have a board on there. So I'm just going to expand them out from here. I'm going to press to lans. And again, I just want to make sure pull them out a little bit further and you also want to make sure that even offset is on and now just take a look and make sure that you're actually happy with how that looks and think that looks really, really nice and decorative. Finally, then, let's put the back on here. So I'm going to press shift A. I want a complete back. In other words, I don't want to just a plane on there because you might be looking from the back and I don't really want that. So I'm going to press S and y, bring it in. I think on the next lesson, we'll actually go through and we will check S and Y to see what are the state of our normals. We're going to bring it up. There like K furniture this. We're going to bring it together. S and and then I'm going to grab the top of this and pull it all the way up into the top of there. I will tap the and there you go, you can see we've got that nice line now and it looks as though it's actually been built by someone that knows what they're doing basically. All right, I'm happy with that. Now what we'll do then? We'll end it here and on the next list as I say, we'll check our normals actually on everything and make sure everything's correct. All right, everyone, so I'm going to quickly save it and I'll see you on the next one. Thanks a lot. 62. Creating Variations in our Bookcases: Welcome back, everyone to Blender and Unreal Engine becoming a Dungeon props, and this is where we left off. Now, let's first of all, join everything together. So I'm just going to join all that together. Press Control J. And then what I'm going to do is I'm going to come and put it on to face orientation. And I'm just going to check all of my normals. I'm going to grab this one first, press a shift. I don't know why that one had so many normals not working properly, but it did. Let's come to this one then. Again, a shift, spin everything round. I'm just going to look on the inside of that, making sure everything is right, and I think it is. I'm looking at these parts as well. Let's grab both of these, doing both together. All tag, bringing everything back. A to grab everything, shift, spin everything round, and then double tap the A and there we go. They're done as well. That's pretty much up to date with that. We should always do that every now and again, just to make sure everything is okay. Now, let's come back to. Let's turn off face orientation first. Let's come back to our bookcase. What I'm going to do is I'm going to press control ale transforms rightly, origins, geometry, and I'm just going to bring in my modifier, going to be a bevel and you can see already that looks amazing now. Let's put it down to just to look. Maybe that actually is come in okay. I think that's going to be okay. I'm just going to move it over to the side. And then I'm going to make another bookcase this time. I'm going to bring up my reference. The next one is going to be really a simpler bookcase than one we just made. Let's make a start on that one. Again, I'll probably want it maybe a little bit smaller than this one. Shift A, let's bring in a cube. Then we're going to press S and y, bring it in. Like so. I'm going to bring it up to the right level. I'm going to press S and X, make it a little bit thinner this time, and then I'm going to grab the top of it and just pull it up to where I want it. I'm probably going to have it, something, something like maybe a little bit down, something like that. All right. Now I want to do on this one. I want to actually bring in a bevel and bevel the two sides of it out. Or you don't have to do that. You could actually do it by hand instead, which might actually be easier. We've not actually used the Boolean before. I don't think so let's actually use the Boolean. We'll press shift A. We'll bring in a que. Then what I'm going to do is I'm going to bring this queue to where I want it. I'm going to bring it something like that. We only want a very small sliver on the left hand side. What I want to do is I want to set the origin to three D cursor, add in a modifier and bring in a mirror, like so, and then one going to do is I'm going to press test and next and bring it in. Now I can see that if I press one, I've got a bigger chunk here and a smaller chunk here as you can see this to this to this. But the middle part shouldn't be as chunky as the left hand side anyway. That looks about right to me. That is what you should be aiming for. All right. Now if I grab the whole thing and pull it back, and now if I pull it up, to one two, which will be near enough the top of there. Then what I can do is I can now I'm thinking of probably bringing some edge loop. So I'll press control of two, three, four, five. Let's try five, something like that. I'll come to the top of here now, press one. Make sure I've got proportioning on and then just pull them up. Something like that. Yeah, I think that actually looks nice. All right. Now we can apply our mirror. Press control all transforms, right click. Sorry goniometry. Again, with our block now. Same thing again, reset all the transforms, and now come off to the right hand side, and you're going to just bring in the boolean, get the little prepared and just click on these actual cubes. Always putting it on fast. If you put it sometimes if you don't put on fast, it won't actually work correctly. I've always go into habits put it on fast, and then there is our press control, and now I can levee those out of the way. And that's what you should be left with, so you can see really, really nice way of actually doing it. All right. This one is a lot simpler, as I've said. So let's now come to the bottom of here and we'll make it a little bit or at the bottom. What I'm going to do is I'm going to press, S without proportions in on. S, pull it out a little bit, like so, and then, pull it down. Then what I'm going to do is I'm going to press control. Left click, bring it up, control B, just to bevel it, and then, and I'm just going to bring that part in a little bit, like so. Then I'm going to come to the next part now, which will be the bottom. Control, left click, right click. I'm going to grab this bot I'm going to press, terns and bring that out. A little bit more than that. So I can carry on pressing all S if I need to make sure offset even is on. That's looking nice to the bomb. Now I need to do is I need to we my way and put in maybe some things are going around there like in the reference. We'll do that now. Now the problem you're going to have is because you've used a boolean. You're not going to be able to put a edge loop going up here, just simply one way. The only thing you can really do is bring in a bisect. If I come to mesh, come to bisect, drag it straight across there. Set this two zero. This one here with 0.6, you can set two zero, and then we'll do it once more. Bring in another mesh bisect and this time, bring it across here, set this one to zero. There we go. Now, you can actually bring in an edge loop as you can see. I'll bring in an edge loop to here, and then we'll do is I'll make Probably from here. We'll do from here from here from here to here, and then control B, pull it out and this we'll use as our I don't even know it's called, just a little sticky albit that goes on the bookcase. AlternS, bring it out, and then just offset even on, and there you go. All right. That's looking pretty nice. Now let's think about our actual top. I'll com to this top. I'm going to press enter, pull it out, you can see, it's not pulled out correctly, but instead of just trying to line it all up. I'm just going to press S and y so. Then I'm going to press. Like so maybe a little bit higher and I'm going to give it near enough, similar to what we've done on the bottom. So I'm going to press control off, left, bring it down a little bit control B. Okay. Okay. And then what I'm going to do is I'm going to press Control again, left click, right click and then S and pull it out and you'll end up with that type of instead, which I think is really nice. Then I'll press Control, left click, right click and then shifting click going around this way. Shift click and then Altern and bring it out like so, and just make sure that set even is on. There you go. Second bookcase. All right. I'm happy with both my bookcase. I'm going to put this now on there and on there. The one thing is I've noticed this that The bookcase is taller, smaller taller. The last thing then we need to do is just bring in our actual what they call the shelves. Let's bring in the shelves. Might be able to get three shelves in here. Let's press, wire frame. Let's press A and we'll bring in a cube, and we'll press S and Z squish it down. We want it to be roughly roughly the same size as these ones over here. Let's press S and X and then Z solid. Let's just make sure it's in the right place. S and y going to pull it out. To make sure that back is in there, it's in there so, grab the front, pull it back, so. That's looking good. Let's now press again. Going to wire frame. Then I'm going to pull it down to round about where I think it should go. Shift D, one, two, and three. Solid. Now I'm just grab my book again. I'm going to grab a bigger book this time, so I'm going to press Shift D, bring it over. Let's just put it in place so one. So I'm just wondering how far. Now, by the way, when you put your books in, just grab all of your books and just mix the maximum. In other words, press shift. Press, just squish them in a bit and then and y, just to bend them over some of them, they look a bit different press the bonds, make them smaller. You can see even though these are the same, they look entirely different because of what I've just done to them. Just take that into account when you're doing it. What I'm going to do now is I'm going to Press D. I'm going to bring this one. I'm going to come in, pressure D. I don't think actually, I'm going to manage to get any more books in there even if I wanted to. So I'm going to leave it with those two shelves in place. All right. So that's this book case finished. I think of a press g I just need to bring in these two, control. Control A or transforms rightly origin geometry. And now finally what I'm going to do is I'm just going to copy the bevel off to here. I'm going to s select this one, shift select this one, press Control L, and I'm going to copy modifiers and hopefully. I didn't work. I'm going to again, I'll do it this way. So control. Okay. Copy modifiers. There we go. Now it works. All right. That's looking now pretty much the same as that one. I'm just looking around it, making sure I'm happy with them, and I think I am. What that means now is I can grab both of them. And what I can do is I can come to object, clean up, clean up. Come mesh. There we go. D tap the A. There we go. To bob cases. Now, on the next lesson, what we'll do, then is, we'll actually get in the actual wood grain folding. The thing is, I don't think I'm going to set you up like this. I'm not going to set you up with all the books and things like that. I'm sure you can actually do that on your own. So if you want to do that, you feel free to do that. It will look a lot nicer if you do do that. Then what you could do is you could have a bookcase that's empty and then a bookcase where you've actually filled in, put some scrolls in and things like that. If you want to go away and do that, that's up to you, but of course, it just takes more and more time on the course, and I don't really want to do that. All right, everyone, so I hope you enjoyed that and I'll see you in the next one. Thanks a lot. Bye bye. 63. Adding the Bookcases to our Asset Manager: Welcome back everyone to Blender and gone becoming a dungeon proper artist, and this is where we left off. All right. Now, I'm not sure if we've got our material. I think it's the different wood, so I'll I'll pull material. Now, of course, the more materials you have, the longer it will be for blender to basically load the more. So just take that into account, and I'm looking now where my wood. We've got this wood, we've got this wood. Let's have a look at this one. What's this one? Is this the light? Yeah, that's the stylized plan. So I'll do is, I'll just bring this over for now. Like so. Then Wildes I'll copy that. Press Control C, then Walder is I'll minus this off. I'm going to go to my textures. So my textures here, and the one I'm looking for is wood light, this one here. We're going to call it actually stylized wood. I press Control V. Wood stylized plank and then I'll just call it light because I think it is just a lighter version of that. Then what we can do is we can do the same thing with our shading panel, click on the shading panel, controls T click the pyro, and then you're going to go down near the bottom and it's this one, this one here, and bring all in, except your direct, click the principle. There we go. Let's take a quick look at that then, see where it's looking like there is our wood. You can see it is a lot lighter than the other one. I think actually the wood grain might be a little bit different as well. Now we'll go over. To these, I'm going to go to my UV editing just to make sure I can do this correctly. I do mount. We'll do this one first. I'm going to grab everything. I'm going to press and smart UV project. Click Okay. And I'm going to also spin everything around. Our 90, spin it all around, click the down arrow and we're looking for wood. And it's the one that is like this one here. All right. Let's press tab and we can see we have many, many issues. They're all going the wrong way round. We're going to grab everything off 90, spin everything round, and now they're all going the right way round. The thing is what it's actually been done to the actual place. Now we are having a few issues, and you can see that this here is going the wrong way round and things like that. We're probably going to have to break this into parts actually. If I come in, I'm going to grab all of this. If I grab this with L, and then Now, there's always a problem with blender. I know that if I go over here. Now if I do have the eight, sorry, I grab this and come over here. If I try to spin in some of these round now, I have to basically guess to which ones they are. I'm going to guess that they're these, these, and these, and they're the ones are going to spin round. If I press 90, spin them round. I'm right. Let's try that again. No, I'm wrong, so they're not even those. Let's try these 90. Yes, it looks like they're one of these, which means this one here. You can see if I move this, there we go. This is the one that's causing this problem. I really don't actually want it wrapping like that. The best way you can do this is just to grab the sides of it, the front and back of it. Wrap this and wrap those separately. Now if I click on wrap. Let's have a look at that. There we go. Now if I grab these ones and do the same thing, I can ramp. You on rap now they're going the right way now. Now you can see that's looking a lot there. Now you can see that these probably both of them. Let's double tap here again. Actually, they're going the right way. It is actually going the right way. Is this one. I'm going to grab it going from here. And here, and then I'm going to just spin these round. 90 spin them round. That's going the right way now and this one here as well. I'm going to grab this one. This one and this one and then 90, spin it around. I'm just looking at the rest of it. I think these parts here are going down as well. I'm going to do that. I'm going to grab all of these and just spin them round. 90, spin them round. That's looking much much nicer. Now, I'm just looking at the rest of the build. I'm going down the sides and looking at that. Now I can see these here, as you can see, they're going to be going the wrong way round again. I'm just going to spin these round the, the other ones, they'll be exactly the same. I'm sure on the other one. In fact, so I'm just going to put on material instead of My full render looking where they are, so it's this bottom one here, this bottom one here. I just going to spin them around like so 90. That is the way that we can actually fix a lot of this. Now, it would be easier actually if we went in and marked all the seams and things like that. That doesn't make it a lot easier. I'm just now making sure I'm happy with everything. I'm looking at this. I think one thing I didn't do is actually shade smooth, part auto smooth. There we go. That's sort. Now that looks a lot better. All right. I think I'm happy with how that looks. All right. That's one. Now, let's come to the next one. Exactly the same thing as what we did. Let's press control A all transformations. Right click Set origin to geometry. Right click again, shades move, Auto moove on, now let's see if we can do it the same way. MV project, material is going to be wood, and it's the one that says light Let's have a look at that. And pretty much. Everything's going the right way except these two side parts again. Yeah, it's pretty much just these side parts. So we'll just spin all these rounds. I'll grab all of these. I'll do this one first, actually. I'm just going to press eight 90, like so, and I'm going to come to this one, do exactly the same thing. Grab all of this. A 90, spinning around. There we go. All right. I'm just going to go around the back, make sure everything's done on the back and that looks really nice. All right. That's done. Let's now go to modeling. Presets zoom in and we'll call one and we'll call one a tall book case and we'll call the other draw book case, something like that. So we'll grab this one and we'll call it bookcase. And we'll grab this one and we'll call it draw. Bookcase. And then we'll just make a new scene collection. New collection, go down to bomb bookcases, let's drop both of these in there. Drop them both in there. Right click and mark as asset. All right Let's close that, close that. B to my asset manager fama bookcases. Here's one. Where's the other one? There it is. This one here. Drop them into my props. Then just make sure everything's in there and it looks like it is. All right. Now then, let's put these towards the back. So definitely towards the back one we spin. Let's also now we can see there towards the back, move this as well. Press seven. T I'm going to put it somewhere around there and there we go. All right. There are our bookcases done. Now, let's go back to modeling. Let's file and save it out. Now the next thing we should work on is our actual banners. Let's open up our reference. So I'm going to go Let's see if we find them this way. And I'm probably going to find I'm going the wrong way. Which I am, of course, it would be the wrong way, so keep going. No, I can't find my banners. Let me open up then my references and the banners are here. No idea why I couldn't find them, and maybe I went past them. All right, so these are the banners. So we're going to make a start these on the next lesson. We'll probably start with this intricate parts that hold the banners in place first, and then moving down to the actual cloth, and I'll show you how to actually create this clove. Using actually sculpting, so we're going to learn a little bit about sculpting and hope to see on the next one everyone. I hope you enjoy that. S on the next one. Thanks a lot. Bye bye. 64. Starting the first Wall Banner: Welcome back everyone to Blender and Unreal Engine becoming a dungeon prop. Let's make a start now on our actual banners. What I'm going to do is I've got my cursor in the center. I'm going to press Shift A, and I'm going to bring in a Celina. 18 20 is okay. Let's put it on 20 just so we've got a little bit to work with. Let's spin it around, so Y 90. Let's put this on object mode. Let's press the S we want it to be fairly chunky. I mean, it's sold in quite heavy banner. I want these banners to be quite heavy. S and X, let's pull it out. I think something like that is a good start. We've got one, and we'll put the banners on the same hanger anyway. What I want to do though is I want to basically make it a little bit thinner, I think, S and then S that. Something like that things perfect. All right. Now, let's press control. Control three, five, something like that. Then I'm going to do is, I'm just going to bring this other one in giving you that kind stylized we're going for. S, bring it in. So. There you go. That's looking pretty nice. All right. And what I'm also going to do is I think I'll bevel off the edges of them. On my own. In other words, I'll grab both of these, I'll press tab, Control A, I'll transforms, set origin to geometry, tab again, Control B, and bevel them off. See that looks really nice. Now what I'll do is we'll start work on I think bringing out the backs of them first. If I come in, I could use this so I could make another one. I'll press control off, left click right click, control off, left click right click, grab them both, and then I'll bring them in a little bit. S with that portion of it Sx, bring them in and with medium point on. SX, bring them in, and then we'll press Control B. Bring them out, like so. Then what we'll do is we'll bring these out now. I press enter alternates, bring them out, something like that, and then make sure you've got even offset on, and then I'm just going to grab them from probably this one here, so it's one, two, three, four, so, that looks about right and then one, two, three, four, and then just bring them out, so just pull them out, and then you just want to straight them up, so and y straight them. Now the thing is with these bags, you want to make sure that are pulled far enough out so the curtains can hang properly. So I think something like that should be absolutely fine. Now, let's think about the drop down of the ones in front. I think I'll bring in should bring in another edge port, use this. I might be able to get away with using these as long as I bring them a little bit to the side. Shift click Shift click and then S and X bring them over just a little bit. Control B, bring them out. They need to be a little bit smaller and these are actually holding it to the wall, I think. Something like that, enter and then alternS and bring them out. A little bit less than these ones here, as you can see. They're a little bit less like so. Now, let's come underneath and we only want to grab two this time. Grab two and two, like so, and then we'll just pull them down. Z, pull them down. You have to press twice by the way, to make sure that they come down properly, and then Yeah, something like that and then we can put I bring them up just a little bit. Then we can put a chain going around this way, which means I'm thinking I'll probably bring in the bottoms of them. So I'll do, I'll pull them up actually because I want to put chain going around this bit. Actually, I'm not going to mess around these too much, actually. I'm going to put them like that, and I think also I'm just thinking it should be in the front of it. So if I has to go through the front, should I have a bevel in there or something like that. I don't actually think. I think I'm over thinking this a little bit too much. You can see also that I've not brought down this one. I brought down this one instead. That's the wrong one. So we don't want to do that. We want to get it from here and here and take off that one. All right. Good job to check that. Z, make sure they coming down. I think that should be okay. I want to press and Z and bring them up. Like so. All right. Now, let's bring in a chain and we'll have a look to see how they look by pressure day curve. Let's bring in a circle. Let's bring it up. Let's make it much smaller. Spin it round, so x y, 90, and we'll make it thicker first. We'll come over to our curve options. Turn it all the way down. Turn it up that a few times, four should be okay. Let's bring up the depth. Like so. Let's make it smaller then, and then let's press one to go to front view, and then I'm just going to fit that into there like so. In the middle of there, bring it up a little bit. That's going to fit absolutely fine. All right. Now, we've got the center point from here so we can use that as well. Now I'm going to make another one, first of all, I'm going to keep it round as well this time. I'm not actually going to make it a little bit oblong or anything. I'm going to press it deep. And then what I'm going to do is going to bring it down to here, and then press said 90, spin it around, and I'm going to have it like that I think. Now, the bottoms of them, I am going to stretch it out. I'm going to press S and Z, pull it out a little bit, pull it down. Then I'm going to get rid of this bottom. First of all, though, obviously, I need to convert them, so object, convert to mesh, and now I want to mirror them over. Control J. Let's mirror them over, so we'll grab this, shift S to selected, grab this one, and then we'll right click origin to three D cursor, bring in a mirror. Okay. So one mirror, put it on the y, and you can see because we're not s transformations, they're not correct. Control A transforms clicks origins three D cursor, and now you can see they're actually working correctly. Now all I want to do is I just want to come in and delete these bob ones. Old shlick ship click, let faces L delete versus. Now that's absolutely fine. Now we can carry on mirroring it with the other side, and that's probably going to be the easiest way to do this. If I just now press ship bring in a e press S, Then bring it over and we can just carry work in like this. Now the one problem we're going to have is that be not going to be in the right place. What I want to do is I want to grab these around here, shift curse to selected, grab my cube with L, and then shift, selections to keep offset. Now the cube is in the perfect plate. Now I can bring it down and it's in the center point, S and y, let's bring it out. S and X, like so. Let's bring it down, and this is based of what's going to hold the cloth into place. These are both basically the same. It's just the cloth and the bottom of it, that's a little bit different. All right. I'm happy with that. Now I want to do is I want to grab the front of this. I want to press I bring it in. And then I want to press and bring it out, like so. Perfect. That's looking really nice. Now, let's think about the backs of these. I'm not going to work on these anymore. I think they're pretty much done apart from the bols'll bring in in a bit. What first I'll do though is work on these front ones. So I'm going to press Shift A, bring in another cube. Make it a little bit smaller. Then I'm just going to pull it back to where I want it to go. Again, I want it in the center of this. I'm going to grab this one here. I'm going to grab all of these, shift to selected, come back to my cube, shift, selection curves to keep offset then we know that is in the center of that. Now let's get the right dimensions. I'm going to pull it back. This is a bit that's going to be in the wall, of course. Something like that, and then I can grab it all, press S, pull it out now we need to actually level this off so it looks really really nice. What I'm going to do is going to come in, grab each of these edges on here. I'm going to press tab, control, or transform just to make sure we get a nice bevel on it, and then I'm going to press control B, bring it in. I'm going to put this up to maybe three and then going to change the shape of it to be inwards like so. There you go as simple as that. Now what I want to do is want to bring this in. I'm going to bring it in. I'm going to grab this, press the i born bring it in and then pull it back, pull it back, and there you go as simple as that to get that really, really nice slope. Now again, let's grab the center of here, so shift this, cursor selector. Let's grab this one. Control o transforms, right click origins three D cursor, and let's now mirror over to the other side, just like that. Now, before we carry on, I need to just split this off. I need to split this one off. You can see all these joined now, unfortunately, we're going to have to probably do it together, so I'll do is. I'm thinking, I'll grab everything except these chains. We'll actually come in and split these chains off. P selection. Just split those off. Then one going to do. Now I've done everything I need to. I'm going to grab everything, object, convert to mesh, that's convert all those, and now just join all of these together. Control J. Control A all transforms. Set origins geometry, right click shapes move, Autos move on, and now finally bring in a bevel. We're going to bring in a bevel and we're going to put it down to point, three. Try that. Maybe a little bit less. Sometimes with things like this, 0.1, you might need to go a little bit less and you can see that. If we turn this on and off, ever turn this on and off, you can see the difference it's made, and I think it looks much better. Let's press control a now and there you go. There is the start of our actual plot hangers. I'll just put one over this side, one. I'll join it together now, control, bring it over this side, press shift. And there we go. We've got two of them now. So one will be for a square one, one will be for the longer one, and yeah, on the next lesson, we should be able to get well on our way with these actual banners. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 65. Using Blender Sculpting Mode: Welcome back, everyone to Blender and Unreal Engine becoming a dungeon prop artist, and this is where we left off. All right. So now, let's press one and see how high these are. They're going to have to go up a little bit higher, something around there. Now, let's come to this one first. Let's press shift, cursor is selected. And then one we're going to do is I'm going to bring in a plane. So when a press shift, bring in a plane, spin it around. RX bring down the plane to where I want it to be S and X, bring it in. That looks round about the right place. Then what I want to do now is I want to bring down this bott. Well, to bring down this bott first of all, I want to make sure this is long enough. Is this long enough? I think I might just drop it down just a little bit more like so. Okay. Yeah, something like that. All right. Now we've got that. What I want to do is I want to actually subdivide this. I can actually do this while I've got this. If I grab it, press A, subdivide, and then what you can do is you can come down and you can turn up the number of courts. Now, it will only let you turn them up so far. The other thing of course is when you're doing this, you got to remember that each of these cuts, they're going to be slightly longer, so just bear that man when you're doing this. Now, even if I go back and I just take all those off. Now if I come back to it, press tab, and now I go, tap control all transforms right cginGeometry, you're still going to have the same problem if you subdivide because of the fact that this is slightly longer. You can see me subdividing now and I'm going to subdivide probably quite high maybe something like, maybe I can get away with that maybe nine. Let's go to nine and you can see, as we're putting these up, 3,200. Let's put it up once more. 3,800. 3,800 polygons. I think we should be able to get away with that with our actual sculpting. We'll give that a try. Now, let's come to our next one. We might as well make this cloth as well. Shift A, let's bring in a plane. What I want to do though is I want to bring the plane in to the center of here. Shift S. Custer selected bring in a plane, plane and then 90, bring it down. I'm going to have it stuck in there. Now I'm going to press I think I'm going to press S. In fact, no, no, I'm going to press SN x, bring it in like that, and then I'll bring this one up, so I'm going to bring it up. So maybe something like that. All right. Again, now, I'm going to resell the transform. Control A, set origin to geometry, tab, A, right click, subdivide. Let's turn it up to ten. And then what we do is press tares tab again, click, subdivide, and now you can actually turn it up to a few more. Now, this is 8,000, as you can see, so it's a lot higher than the other one. I'm just wondering, This seems much more workable to me. I think I'm going to go with this. I'm going to come back to this one and I'm going to turn it up, right, subdivide 15,000. We are going to reduce them down, so don't worry too much about it. All right. Now we've got that. What we want to do is we want to basically move around the clock a little bit to get it looking the way that we need it. Let's do that first. Now, to do that, I'm probably thinking of doing it with proportional editing instead. Let me just grab going all the way over it like so and let's just move it out. Like so. Let's move this one out, like so, and finally, let's move the bomb out, so you can see now we've already got some movement in there, which is really great. Now we'll also do the same thing with this. If I do this here, I'm going to pull it out, like so, and then I grab the bottom of it, like so, and I pull that one out. I think that's going to look fine. Now, one thing I can say is I've not got these in place. I'm going to move them into place where I want them. Yeah. All right. Now, let's come to our sculpting. That's first of all, save it out. As I say, you should always save out before you start any sculpting or anything like that. Now, normally with sculpting, You can actually add a modifier to get you some really, really high detail on. We'll see if we need to add that on using your subdivision or the other one, which is called a multi resolution. You can also use that. We will see that. Let's come over to our sculpted mode. Let's first of all, try our grab, which is this one here, our grab. Let's press one, and then what I'll do is, again, you can make this bigger or smaller using the same keys as what you use on photoshop. So you will see now we've got all of these different brushes we can use. I recommend you try them out. You radius and your strength. As you can see, the strength is how much it pulls it. As you can see if I grab this, I can pull it. The actual radius, you can see how you've got one yellow circle and then one circle in the middle. If I turn this up, you'll see it makes it bigger. We can see we can change the p but what we can also do is come across the right hand side where you've got this spanner. What you can do there is you can change the normal radius, the hard, all different things you can actually change with this. These are important because you can also change things like the fall off. You can change how it actually falls off, whether it's a bit like proportional editing when we click that on. You can change how it falls off smooth or whether it falls off sharp and things like that. Lots and lots of things you can play around with. Now, we're not going to go too much into these things at all. All we want to do is basically create our actual banners. That's what we're going to pretty much focus on. I'm going to press one I'm going to come to the bottom of here, what I'm going to do is I'm going to pull this one out like so. Then what I want to do is I also want to pull it so just to create that nice log of a banner. So I'm going to first of all start with pulling little bits of them in, like so, making it look a little bit different. Of course, pulling these down because it has to look as though it's hanging and then pull them in like so. You've also got a bond that's actually for smoothing, where you can use, and that's the ship bon. If you hold the ship bon down, you can actually smooth it off. Then what we're going to do is we're going to go to our plate, which is this one here. Make it a little bit smaller. And then what you're going to do usually going to do one in one out. If I grab it here, like so, and then I press the b. Then I press the control borne. You can see I can do it in out and in and out. That's basal we're going to do. Now at the top is going to be much bigger lines. As we get down to them, they're going to get smaller and smaller ripples basically. I'm going to come now and do the outward one, and then the inward one like so. Then what I'm also going to do is I'm going to pull these down in a minute. So I'm going to do the same thing now. Control Something like that. Now I'm going to grab my grab. And what I'm going to do is I'm going to make it a little bit bigger, like so, and I'm going to start to pull these down, so and so. Now what we want to do is we actually want to smooth these off with the ship bot I'm modding the ship bon. I'm going over it. We can see now the solve that we're actually getting. All right. We're nearly actually there with that one already. Let's just do the bottom as well. So we're going to go back to our clay, going to make it a little bit smaller and I'm going to come. Pull it out like that. Then I'm going to do is I'm going to smooth it off. There we go. Now what I tend to do is I tend to do one lot and then I'll come in and do another lot. Now you can see I've got clay and clay strips. I use the clay strips there. Let's use play strips on the next one, see what how that works. I'm going to make it a little bit smaller. I'm going to go in and then with the control, and then the same thing. Trying to get a nice cloth log to it. Smoothing is going to do a lot of the work for us anyway. Smoothing it off again. I'm going to think after this, we'll just do those edges, then we'll smooth it off a bit more. Notice I've kept my brush small on this one as well, and now we'll do these edges so as to go down. I'm actually going to turn the strength down a lot for the edges, so I'm going to put it on 0.1, something like that, turn it down, and then do the edges like so. Now let's come in and smooth this off. Same for this, smooth it off, and then smooth this off now. So. All right. Let's have a look at that then. So you can see it probably going a little bit too much. I'm going to just go over the middle of it again. I'm probably as well going to use my clay. I think that work a bit bad for me. Now I'm going to come in. Yeah, I just works a bit bad. Go over it now. Then go over it with control, and then just smoove it all off again. All right. Now let's move it off. You know september strength as well, so I don't need to probably move it off as much as I did. And then we actually get somewhere now. That's looking pretty nice. Now, I'm just going to smooth out a little bit more and then I'm just going to grab it and start pulling it out a little bit more because I'm still not happy with it. I've got my lumpiness in. I'm just not great in too much like cloth. I'm going to. Let me try this elastic form. I'm going to try that one if that is. There we go, that's not working the way I wanted to. I'm going to I'm going to try my grub again. So I think actually, this one is working out a bit there for me after putting all those lumps in. Yeah, there we go. That's what I'm looking for. Those kind of looks. There we go. That's the welcome I'm going for. All right. That's looking pretty nice. Now I'm going to be very careful when to smooth this off, I just need to move them off a little bit. That is exactly what I'm looking for. That's looking good. Now, let's do the other one, and then we can start seeing if we can get away with using a decimate on them because they're very high. Now we'll come to this one and we'll do pretty much exactly the same thing. Should be easier on this one. The first thing you want to do is usually grab and you want to pull them out. Now the other thing is, as you can see, I can't actually do anything with this one, and this is because my score mode at the moment is on this one. Let's put it back. On subject mode. Click on this one, back on to sculpt mode. Now you can see, I can actually start work on this one. All right. We've actually run out of time as well. Let's save it out, and then on the next one, we should be able to get this one finished as well. All right, everyone. I hope you enjoyed that. We're not going to go too much into the actual sculpting side because I just want to keep it very light just to show you what's actually available. And if you need to, you can use the sculpting to make simple cloth and things like that. You could also use the cloth simulator, but for something as simple as a flag or something like that, I recommend doing it this way. All right, then, everyone. I'll see the next one. Thanks a lot. Bye bye. 66. Finishing the Banner Models: Welcome back, everyone to Blender and Unreal engine, become a dungeon props, and this is where we left off. All right. Let's now come in and we should be able to grab this one, which we can. Let's pull them in, so, pull them out. Remember to pull this bit down, so it looks like it's actually hanging, pull these bits in. Basically, you want it to go more in like on here. More in, if you look at a cloth reference, you will see goes more like this. Then what you want to do is now we'll do the clay strips. We're going to put in our clay strips, so let's put them in. Now, the one thing is, I need to turn my strength. Something like that, and there we go. I'm not going to mess around this time. I'm just going to really give you something. Then I'm going to press the control board down. Then I'm going to make it a little bit smaller and I'm going to go around the edges, so smaller so around this edge around this edge. Then I'm going to do now is I'm going to use my grab. This one here, I'm going to make it a bit bigger, so I'm grab tall Okay. Let's try and pull this down there we go, we gain some actual cloth there. Now, fine, let's move it off and see what we end up with. There you go. You can see that's looking the tom bare already and the row got be Okay. Actually doing this and now I can actually pull these down and get that cloth that we're actually looking for. There we go. All right. That's looking pretty good as well. Now then, let's go back to object mode. Then what I need to do now is I need to obviously turn these into mesh because the moment, they're just flat planes and we really don't want that. Well, first of all, we want to see how far we can get down on the subdivisions because the moment this is 15 half thousand. Can I bring it down anything? Let's go to add modifier. I'm going to come over to where it says, decimate. Let's try 0.5 on the decimate and we might actually be able to get away with that. Let's try 0.3. Yeah, I think 0.3 is about as low as we're going to get, which is 3,700 Inc let's try 0.1. Can we get away with that? Right click Shades move. You know what? I think we could get away with 0.1. Let's apply that. Let's come to the next one, and again, the same thing. Click shades move, add modifier decimet This is 4,000 not quite as high. Let's try 0.2. And then we go. That's then around the same as the other one. Let's apply that with the control lay. Now, the first thing I want to do before doing anything else, I want to mark a seam because it's going to make it so much easier to mark a scene now rather than trying to mark the scene once we've solidified it. Let's do that now. In fact, it probably would have been easier actually to mark before actually doing the decime. What I'm going to do is we're going to pressciate dates just to hide everything out of the way, and then I'm just going to come across with control click, like so. Control click in all the way down. Going back to this point here, right click and marking a scene. All right. I'm hoping that should be enough now. Now, we could I think we'll use the solidify on it as well. Sometimes extrude now when things are like this isn't a good idea. Let's first of all go to this one though, and we'll do the same thing, shift H, and then we'll go Shift click going all the way around. Shift click, all the way down, and then control click and I'm hoping that this will follow it all the way along. Like so I won't have any problems with my Sam. I'm praying I don't have any problems with my seam. Let's right click Mark Sam, There we go. All right. I'll take, bring everything back. Let's grab this one first. Then what we're going to do is we're going to resell the transforms. Adding a modifier, solidify, let's bring it out. Actually, we need something with a fair amount of thickness. Let's put it on even thickness, and I think something like that actually is going to be maybe even not thick enough. Let's bring it out. Let's make it a little bit thicker. Let's pull it out then into place these need to be fairly thick. I think something like that is perfect. Now I'm going to do is I'm going to grab this one. W to press control a transforms origin to geometry, shifts like this one then and then control control and then copy modifiers, and there we go. Okay. All right. Let's come to this one first. Apply the modifier, right click shade Smooth. We can see we've got a few problems on there and the reason that's happening, of course, is because we need to triangulate it off and we need in an auto smooth. Let's bring an auto smooth. Let's see if actually we don't need to triangulate a thing I go away without actually doing that. That should be Pretty good. Let's see if I come in and I come down on face elect and where is it triangulate faces. They've already been triangulated anyway from the decimate, they'll be okay. Now, let's come to this one, same thing, shape smooth. Also smooth on. Let's apply the solidify with control. There we go. All right. That's our banner is actually done apart from the bottom of this one. Let's quickly now make the bottom of this one. I'm going to press Shift S, well, I've got this one and then shift, let's bring in a cube, bring it down to the bottom. So. Let's bring it in. S and y. Let's make it a little bit smaller and then S and X. So like so. Then I think I'll make actually a gap in here as well. So I'm going to press control all transforms click Igin geometry, and let's come in and make that gap first. In fact, we'll make the gap first. We'll press. Like so, and then I'm going to press and drop this down into there, so I'm just going to move this back a bit, so it actually fits in there properly. If I grab this now, I should be able to grab just this one. Put on proportionality press the G key, bring it in a little bit, and just push it then back into place, so it's actually looking as though it's actually sat in there, which is good. Now we can actually pull the bottom of it down. So five come in to this part, press controller. Let's try five ft click, right click. Let's pull them down now. Like, like so. Like so. Yeah, a thing that looks pretty good. Now, we've got a problem with the need to come in this, so it needs to be a little bit in, so I'm going to press S and X without proportional editing on. Like so. Then one going to do is I'm going to bring out these sides just a little bit more. I'm going to grab this side. On this side, I'm going to press terns, bring them out a little bit. Then what I'm going to do is bevel off these edges now, so I'm going to bevel off these edges. Again, let's reset the transformations. Let's press tab control B. I definitely don't think I want them like that. I'm going to turn this down to one. That should fix those. Now I can actually bring these out. If I press to alter, should be able to bring them out, like so, and that looks much, much better. That's how I had actually the other ones. I think I brought them out a little bit because I leveled these off, so I leveled them off a little bit different to I think I did. But I think actually, I can bring these in as well if I want to. I go to individual origins, press the SP, you can see I can make them a little bit more spiky and I think that actually maybe maybe now I can put this on medium point, press the S bon, bring them out a little bit, just to give them that little bit spikiness that the other ones had. All right. Now what I'll do is I'll bring in these ones. I'm going to grab all of these. I'm going to press, bring it in, and then, pull it out. There we go. Pretty much done now. Let's click shape smooth. Let's bring to smooth on. Finally, let's reset the transformations once more, and then we can bring in our be modifier. Let's bring it down. No 0.3. Maybe that's too high, 0.1, and there we go. That looks much better. Let's do a check. There we go. Let's apply that and there we go. Now, I'm thinking probably, I need to check. Yeah, you can see now that that's actually working perfectly. So all I need to do now is just before we finish, hide this out of the way and now I can come in and just mark a seam on each of these. Now, as well, the reason I've done this marked a seem as you can see, is because it is going to make it easier then. Two texture this. If I come in now, I can see that should be able to grab all of that or all of the back up or one, two, which is really good. Now, let's come to this one and we're going to do exactly the same thing. We're just going to mark a seam in the corner of these, which means that we're not going to have a massive long piece which we need to unwrap. That's why we're doing this. So Right click making. All right. Now, let's the moment of truth. Let's see if this one works as well. Grab the front of it and it has, grab the back of it, and it has. All right. Perfect. Now, let's press age, bring everything back. On the next lesson, we should be able to get the materials on these. We should be able to get these finished off, get the details on these, things like that. Hopefully, we should be able to get them finish off. Let's save about our work and I'll see you on the next ever. Thanks a lot. Bye bye. 67. Creating the Cloth Material: Welcome back, everyone. Blender on real Engine, become a dngerppist and this is where we left off. All right. So first of all, let's now come in and just make sure all of these are joined together. So I'm just check there to see if I've got any modifiers on, which I've not. Same again on this one, Control J. And now if I grab this one and this one pressing G, it should be absolutely fine. Now let's go in and control A. Right click, origins geometry. Same on this one, just sing all the transformers that we normally do. And finally, now, let's do one check. Make sure my face orientations are okay. You can see that we've got problems with our bookcase. So let's come to this one. A, shift, spin everything around, and there we go. We've kept up to date with that. All right. Now, let's go in and we'll do this part first, I think, what we'll do is well I think actually, we might be able to get away with just unwrapping it all. So if I perate on materials, just unwrap everything. So let it load up. There we go. Unwrap and we're going to go Smart UV project because it probably would still unwrap these okay based on these scenes anyway. Let's give it a try. The first thing I'm going to do is I'm going to bring in. I haven't got a cloth, so I need to bring in my cloth as well. So I'm going to grab this one. I'm going to press D. I'm going to bring in my cloth then, I'm going to come up. I'm going to go to now my textures, which are let's find my textures, this here. Textures we're looking for now is the cloth. I'm looking for fabric. This one here, I think it is nope it's not that one. That is for the actual bedding, I think, fabric flag, this one here. Let's bring in. It's called fabric flag. I'm just going to put that back down. I'm going to minus this off. Click on new and call this fabric cloth I'm going to call it red, but you can change it on the fly, as you know, cloth red. Then let's go into our shading options. Shading, let's come into principled control shift t hovering over it, so click on it. Control Shift T. Let's go to our cloth. It's this one. Shift click Control click Control click, bring them in. Let's go back now to this. If you want to change the color, you know I already have to change it darker. You can also just bring in a U and saturation and just change the u. So if you bring it in like that, you can also go in as well and have a little bit more control if you want over it. This is the best way actually of changing it to be the color that they actually want it. Now I'm going to keep man as red, so I'm just going to plug that one back in there, dele the way, and I think I'm pretty happy with that logs. All right. Now, let's come in, and what we'll do is we'll go to our UV editing now, we'll come over to our actual flags. I think we've pretty much got all of the materials we need. The first material I'm going to bring in is not going to be the plus, it's going to be the little down arrow, and it's going to be the wood. Let's look for wood. I think we'll use the wooden plan. Let's use the dark one. Yeah, that looks better for us. Then what I'll also do is I'll come in, click the plus one, click the down arrow, and we're going to have in our metal. We've got one called melt. No, it's called on I think on dark let's look dark we'll also need another one, and that will be on on old. I think we'll use that one. Finally, then we'll bring in the fabric cloth red. Don't know why that's? Yeah, there we go. It's gone b because I changed the color of it. Now, let's come in and grab all of these. I'm going to c to my edge here. To my edge here. I'm going to click plus going all the way down. Then what I'm going to do is I think I'm going to spin these round. A R 90, let's spin them round and you can see I'm actually end up with some problems here. I thought that might do, and sometimes we can't get away with wrapping in this way. Sometimes we're just going to have to come in and mark our own seam. I'm going to go round each of these, as you can see here, and then on the same on this one, up to here and up to here, and then just come down to this one, and it's probably going to be only the pole that we need to do that with. Up to here and finally, up to here, rightly, Mark. All right. Let's do the same on this one as well, because then we'll know. Okay that it's going to make it easier for us to mark a seam around there. As I say, sometimes you can get away with it and sometimes not or the wood. You can see the marked in the wrong place there. The wood on this one, just wouldn't look right if we don't go in and do this. Plate mark. Now, let's come in and we'll do them both together. So if I grab this one and grab this one, press Control L, and what we'll do is we'll link materials. And then what we'll do now is we'll come in and grab all of these. I'm going to try and do them all at the same time. So all of these are going to be our wood, like so, and then L L. The L and L. And what I'm going to do is press Shift H and just hide them all out of the way. Now, the thing is, I need to come round then to the back, and what I want to do is mark a nice seam going all the way down the back and also a seam on here. So I'm just going to grab the ends first so I'm going to press control lead and mark seam. Now, I'm just going to come to my edge slick or press two on the numpad sorry, two on the keyboard, and then I'm going to press Olshifting click, and then just ship click Shift click click. And then the same for this, O ship click click Old shift click. Click. And ship click. Right click, Mark. All right. Now, let's see if we can actually unwrap these because we still have a problem wrapping them, but we'll see. So you unwrap and let's see how they've actually unwrapped. And I think actually we're going to get away with them like that. We can see that T one is completely the wrong way round. So let's grab this one. Let's press A R 90, spin that wrong round. I'm just looking, making sure that these are all going the right way. They're all going the right way. There we going pretty much the right way. So I think we can get away with that. I think it'll look absolutely fine. All right. So now let's press tab. Let's press altage, bring everything back. And now let's bring in our metal. You can see we need to grab it with face lack, so L. L L and L, L. I'm just looking at the rest of them. All of these and I'm just going to keep working my way along like so, and I'm going to wrap these separately. Smart UV, project, and then assign that on, and there we go. Los plantastic. Now, let's come to these parts and we'll do exactly the same thing with these. I forget I did actually forget to add in another one, which we'll do now. If I click the plus one, click the down arrow, I'm looking for iron again, and the one I'm looking for is this on old, and then I'm going to click a sign. That's not worked, so click a sign. Oh, it worked on those, but not these. That's because this one hasn't got the material on. Okay, that makes sense. If I grab this one and grab this one, press Control L link materials. Now, if I go in, I should be able to click a sign, and there we go. All right, so that's worked. Now, let's come to the bottom of this. We're going to go Smart UV project. Okay. I click a sign, and there we go. Now finally, the clock you can see, I should be able to grab all of this and all of this, press U, unwrap, and there we go. Now let's put it on the fabric cloth click a sign. And There we go. Let's make them smaller or bigger. Yeah. Smaller I think. Now what I'm trying to do is follow that cloth and you can see it's following it really nicely for me. But if it doesn't follow it for you, just grab them and move them in a different place. But they look really, really nice for me. It looks like it's really following those lumps and things that are put in there. Let's have a look at this one and grab all of this. Let's press G, move it over here somewhere. You going to put it somewhere where I think it might be be somewhere like that. Let's make it bigger. Or a little bit smaller. A thing with that one. That's looking been. Let's do the same thing on this one. I'm going to make it a little bit bigger. Like that. That doesn't look right. S G, put it in the middle. There we go. That's the way I want to look. A really happy with that. Now, there are a few things that we need to do before finishing these. First of all, we need to have a couple of decals in so I can show you how those work, and also we want to bring in the balls. We're going to do that in the next lesson. We'll save it out now. We'll bring the balls first and then we'll bring in both of those decals. All everyone. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 68. Adding Decals to our Banners: Okay. Welcome back, everyone. Blender real engine, become dng props. Now, let's put these little bolts in. If we look at our reference, you will see there's two bigger bolts at the back and four bolts on each of these. Then we've got these decals. That's basically what we're working towards. Let's just move our way. What I'm going to do now is grab a bolt, is this one here, ship D, and then press X 90, press one, and let's put it into the front first, so we'll do the little bolts first. We should be able to grab more at the same time once we put them in. Put them into the top corner. I'm just going to press dot, I'm going to spin around that, I'm going to bring them all the way back. Just keep moving them all the way back, and then press dot again. Now you can see I'm really close to it and I can just put it in like so. Press one, shift D. Move it over, grab them both, shift D, and then join them all together. Control J, and now press Shift D, and move them over to the other side then shift D And then finally shift like so I'm not going to join them all together yet. I will do that in a minute. But first of all, it's going to get in place. Now, let's go back into here. And what I'm going to do is, I'm going to press shift, aucate. I'm going to bring it up. Then what I'm going to do is make it a little bit bigger and hopefully going to put it back in here. So I'm going to also pull it out just a little bit, like so, and then I'm just going to press Shift D and drop it down here, like so. Then what I'm going to do is I'm going to press tab, and actually I'm not. I'm going to grab this one as this one, press P selection. There we go, right click Sgins geometry. Now I should be able to just press Shift and bring them over. Shift D, bring them over to this side, so, and then shift D. Then shift bring them over. Like so. All right. Now, I should be able to grab all of this. All of this one, hopefully, with B. Press control J. Actually, I'm going to grab this part last, so I'm going to grab this part last, press Control J, press G, and then we should be able to grab it all. Again, with the same with this one. I'm going to grab one part there. Press B to grab everything, grab this part last. This part, Control J and then G, grab everything, and there we go. All right. So now we're on the final hurdle of these parts, which is going to be the actual decal. I'm going to grab this decal here. I'm going to press sift. I'm going to minus off D car writing. I'm going to pre D. And now I'm going to do is just open up my textures menu so that I can see what we've actually got. Let's actually first of all, we'll put in, we'll open it up first. We're going to open up where is it? Our textures. There we are. Let's open this one up and you can see here, we've got where are the ornaments. I think it's the ornaments of Onment this one? Yeah, there we go. We've got lion crest. We've got the sphing crest. Let's have a look at that one. That one looks quite nice. Bit to more of the alliance, I guess, have a look at our swords. Yes. I like this one. We'll use the swords and we've got swords and swords. Let's use them both because that's what we did on the reference anyway. We'll put large sword and double swords. Let's put it like that. I'm going to put that down and I'll come to this one, and I'll call it decal. Large sword. And then I'll come to this one and I'll call it new decal, crossed swords. Like so. All right. Let's come to this one first, then go to shading, and then control shift, and we'll come to one we just talked about, which are ornaments and which one was this? This one is the large sword. I think it's this one. Yes, it's this one. We'll go on each of these principled and there we go. That one's come through absolutely fine, as you can see. The other thing is, do I want shadows on this? Can I actually turn my shadows off. Let's have a lot displacement sampling. I'm actually sorry if I can turn the samples of the ship. I'm actually sorry if I can turn the shadow on this one. We'll look at that in 1 second. Control ship t, and I'm going to go back now, I'm going to pick the one that says sorts. I'm going to grab all of these Okay. So there we go. All right. They're pretty much done. Now, the one thing is that we do know that we need to do is we need to give this some actual subdivisions because we're better off with something like this, probably lining it up with our shrink wrap or something like that. Let's do that now. We're going to come to this one first. I'm going to go to modeling now to do that. Okay. And you can see that we've got a lot of subdivisions on it anyway. Let's put it into place first. I'm going to press one, and I'm going to put it the other way round. So I'm going to spin it around. So y 180 spin it around. Let's put it into place. Let's make it a little bit smaller. Let's put it round about like that and see if I can actually use my shring rap now. I'm going to put it pretty close, press the dot one, so let's come in, add a modify it, shrink wrap, and then let's pick this here to it. Now let's move the offset a little bit. I'm going to move it with like so. I actually, I know there's a little parts in there that don't look properly, but we can fit that properly. Let's have a look now. Double tap. There you go. You can see how nice that actually looks and fits on there, really, really cool. I'm really happy with that. Now I need to do the same thing for the next one, so I'm going to do exactly the same thing. We're going to come in and grab, where is this one here? I grab this one. I'm going to bring you across, press one. I didn't duplicate them on these decals, but you might want to duplicate these and put them back where they are. Again, I'm going to bring that in and I'm going to use my shrink wrap. I'm going to also pull it back to near enough because it just makes it go on much, much better if you do that. I'm going to put it round about there, a shrink, click on there, and then I'm going to move it because you can see we' ha a few problems with this here. I don't really want that. I'm going to pull it off there. Then what I'm going to do is I'm just going to pull it away now. If I use this, pull it away very slightly. Now you can see it's bending round to the way that I want it and then one check on Okay. Let's make sure that we're happy with that I might need to, as you can see, bring it back a little bit little tiny bit. You see we having a problem. The reason why you sometimes have a problem is just because it's trying to catch the bottom of there. Sometimes, instead of doing that, if you just grab it and just shrink it down, a tiny bit, you're fine. Normally that fixes the problem. You can see now it's bending into the way that we actually want it. All I'm happy with that. I actually want these actual holes in there. This might be causing that, but I'm okay with that actually. I can apply the shrimp now. And come to this one as well, ply the string wrap. Then what we can do now is we can go back to material. Then what I can do is I can join these two together now. I'm going to click on this one. Press Control J. Click on this one, click on this one, press Control J. There we go. They are our banners actually done. Now let's come over to our banners. In fact, we'll make a new collection, first of all, and we'll come down and we'll call it banners. We'll just call them large and small. Let's come to this one first. Do large banner. Then we'll come to the next one. Small banner. Okay. And then wards, I'll just grab them both and I'll drag them into my banners, grab them both and I'll also before I do that. Control transforms, click origin geometry. Same for this one. Then Ward is we **** click them both and mark as assets. Now, let's just put them back into some place first. I'm just going to put them I think roundabout here, somewhere like that, seven to go over the top, making sure they're in a nice place so that when we take a render of all this, we can see everything that we want to. It's going to be a render from this sort of angle. Now finally, let's go into our asset manager. Come to A, and let's just find our banners now. So I'm going to find them actually let's put in banner. There they are. So let's see the work first. That one is working. Absolutely fine. Let's do it quick check to make sure that section is showing up now. Double tap the A. There you go. W absolutely perfectly. Let's close that. We'll leave that one out the way. I'll grab both of these, and I'm going to drop them in my props like so. There we go. Get rid of this now, should have all of our props in there. Now, I just need to, I guess, do a quick check when I actually do this just to make sure everything's in there. We basically now, you should be able to open up another blend file set your edit preferences and your file paths two. Go towards wherever this file is saved out, and then you'll be able to bring them into your new blend file, and that is exactly how it works. You can see exactly with your dungeon as well, you'll be able to bring these in into your own dungeon. Let's now go up to file, save that out, and then I'll see you on the next one, everyone. I hope you enjoy it. Se on the next one. Thanks a lot. Bye bye. 69. Modelling the Stocks: Welcome back, everyone to Blender and real Engine becoming a dungeon prop artist. Now, which one we're going to start with? We're going to do now the actual stocks. Now, this is going to be pretty simple in comparison to what you've done now. The only difficult part of this, as you can see, is just the blood that we're going to put on that. Something nice and simple to get on with now. Let's put this on the left hand side, and let's part cursor to the center. Shift, cursor to world origin, first of all, bring in some planes. Shift, let's bring in a plane. Let's park on there. We've got to imagine these going to be melt down on the stock. Let's make this a little bit smaller. Let's make it a little bit wider. S and y S and X. Now let's see if I bring in some piece of wood now, they're going to look right. Let's bring in the piece of wood first I think. Basically the stock. First of all, let's bring in another plane. So we'll bring in a plane a plane Let's spin it around so X 90. Let's press one. Let's bring it up. Let's press S and S and now basically, I'm looking for is that going to be the right size? I think, if I move my guide to the side a little bit, you can see it's a little bit maybe it's a little bit too big. Es bring it down again. You can see now that if he's put his hands in here and he's head in here, still probably going to be too big, so I'm going to make it a little bit smaller. Something like that I think is going to be about right. All right. Let's put that down there. Now he wants to be able to go onto his knees and put his hands through there. This looks about the right size. One thing that doesn't maybe look right now is the width of this, but we'll worry about the emine. What we'll do, first of all, is getting our post and then have another look at it. By press shift a I'll bring in a cube. I'll press the S b, bring it to this side. Then what I'll do with this is I'll bring in a mirror straight away, put it on the y. We need to set the origin to pre dcursor first, there we go. Now I can actually see if I'm going to edit mold, put this on object, how this is going to look. I'm going to put that around there. I'm going to grab it the top of it, pull it up. So yeah, and I think that's actually going to be about right. What I think is though that these posts are probably a little bit too big to be honest, and there we go. Something like that, pull them all. Yeah. Something like that, I think going to be about right. All right. The first thing I want to do then is you want to put a metal piece underneath here where the actual stocks go onto. So I I press control bring it down just about there, press control B and then we can press to ln and pull it out. Making sure offset even is on. All right. That's looking good. Now, what I can do is I can make sure they're a little bit smaller now because they come out. A little bit too big. If I press S again, you can see though that's not actually working properly because I actually put the offset even on. I can put offset even on now, you'll see it's not actually working properly. Let's go back and instead of doing that, what we'll do is we won't bring them out so far. I've already pressed, you can see that. Again, if you're not sure, just make sure you grab everything, come to mesh, clean up and just merge by distance, you can see eight versus removed. Now I can go and actually grab it all again. Enter AlterN and pull it out. Now I can see that's much, much better put offset even on and there we go. Now I'm going to do is I'm going to press control plus and just pull it up a little bit, so my actual stock sit on that. Now what we need to do is we need to think about having that big groove that's going to come down here. The way I'm going to do it is I think, I'll just simply I'm thinking the easiest way is probably just to come in, press control, two left click right click, and then I'll just pull it back. I'm going to grab it. In fact, I won't pull it back from leather. I'll 0.1 more edge loop, bring it down to here. Like so, and then I'll pull this back. If I grab this now and pull it back with, like so, and then I'll just get rid of the top. Delete faces, get rid of these two as well. Delete faces, get rid of this one, delete faces, and now find that we'll just fill in those faces again. So shift and click, l and f, just to fill it in, and there we go. All right. Now, let's think about this actual stop part. So we'll come in, we'll press tab, control, let click right click. And the reason I'm doing that is because I know it's easy to split up now. Once I've brought in those bevels, sorry, the booleans, now got the halfway point in. So let's pull back a little bit. Okay. And let's bring in now our actual cylinders to make these booleans. If I grab this part, you can see it here, press shift, curse selected, and then shift A, let's bring in now a cylinder. Let's keep it at 20 and we'll spin it round. In fact, we'll reduce it to 18 actually because a few more less. It's going to be not so rounded, I think, this will be a little bit more jagged. We can get away with that. X 90, spin it round so now we need to just measure up with his neck roughly, so something a little bit like that. And then shift In fact, I will make it a little bit oblong as well. So Essen, I think that looks just a tomb. Shift, bring it over. Like, make it smaller. So. And then what you want to do is you want to put your origin to the center here where the cursor is, right click sgins three D cursor. And now you want to do is just mirror over. Add modify mirror, and there we go. We've got it both sides. Apply M as well, and then let's join all of these together. Control A, join them all together, like so, and there you go. That's what we're looking for. Now we want to do is we want to boolean it, grab the plane in the center. Control all transforms right Sogin geometry, add modify it, and we're going to bring in a boolean. Boolean, of course, is going to be these that we've actually built. Put it onto fast, press Control A, and now we can actually delete these out of the way, and there we go. Now, the best thing, of course, is that we've got that line there, which means I can right click, mark a seam, and then come grab the top of it. So as easy as that because we pull that line there, and then all we can do is press y, G, and you'll see that all moves together, and that's exactly what we want. Now, let's pull this up a little bit. Grab them both, and let's just pull them back now. First of all, I want to pull them to where they slot in there, and then I want to pull them back, so they're slotting in to run about where they need to, which is right about there. Okay so you can see how quickly and easily that actually was to do. Now, let's think about this now because you can see that it's not right. Basically, we want the front to be a lot a lot less forward than the actual back. Now we want the back to be nowhere near that far back. Something like that. Then let's bring these in, and then we'll press S and X, bring them in. Now we'll do is we'll work on these parts here. Let's bring in a cube. But we'll do it actually from this one that we've already got because that will make more sense because we've already mirroring it then over the other side. I'll do is ship click on this part, ship selected ship, bring in a cube. Make it smaller. S and then let's pull it down to here where it's going to actually hold into the actual floor. Then finally, S and y, something like that. Then we just need to hold this actually in place. Now we'll bring in another cube. Shift A, bring in a cube, S, and then we're going to bring it out. I'm also going to press send and pull it up to maybe around about there. Let's see how this actually looks. I'm going to pull it down, something like that. That's a little bit too thick. Let's try pulling it out. Now we've got it and actually, that's going to be right. I think that will be. Once I pull this down as you can see, into place, I think it just needs pulling a little bit further out. I'm just going to grab this. We've got another a bit more plan to play with basically. And I'm thinking that I need to pull this back. Just make it a little bit thicker. So if I come back to this, grab this one, pull it back, and there we go. Yeah, thing that looks great. Now, what I want to do is I want to grab this now and put it on the back. I know that this is in the center. To do that, all I'm going to press is that little sideways, click three D cursor, and then one going to do is I'm going to press Shift D and then RZ hundred 80 and spin it round because it's mirrored, it's going to spin it around to the back place anyway, which is great. Now these planks of wood. What we're going to do is we're just going to press tab, come to the bottom of where the planks of wood are, and I'm just going to press tab, Control I bring in maybe five planks of wood, left click, right click, right click, Mark scene. All of those skills that you learned early on. This is what we're going to use now. We're going to make it a little bit random as well, so control. Bring in a few edge loops, left click, right click, and there we go. Now, finally, before we end this lesson, let's just come in L, L and L. Split them off with y, G, and there we go. A split off now. All right. Let's go to file, save it out and on the next lesson, we should pretty much be finished with this stock I think. I'll see on the next one, everyone. Thanks a lot. Bye bye. 70. Adding Blood Decals: Welcome back everyone to blend and Unreal Engine becoming a dungeon artist, and this is where we left off. All right. So now we split all of those up. Let's actually pull them out a little bit. If I come to our proportional editing, put it on random. And then what I'm going to do is I'm just going to pull these out. I'm going to start over here. I want to press G, and you can see it still going to that cursor. That's because I need to press a little sideways V again and put it on individual origins. Now when I pull it out, we can see we're pulling out okay. You can also see it's not pulling everything out, I don't think. Be connected only is on, so I need to take that off. Now when I press G, you can see how we can start pulling these out. Just a little bit, so don't go too crazy with them. I'll always say that because it doesn't it's not going to look right. Just pull them out very, very slightly, like so, including the front and things like that. All right. So this is looking quite nice now. And that's looking quite nice. And I'm just looking making sure. And now I'm going to do is, I'm just going to pull them up a little bit, so just pull some some down. Randomize them a little bit more like so. All right. Now what we can do is turn that off, we can press A and we can extrude these down so making it relatively thick. Then finally, what we can do is we can actually right click shademoth also smooth. Let's now level these off just to make sure that they close enough into each other. Add modify it, Bevel, turn it down to zero, and then let's turn it up to one. Let's have a look at that. Maybe that's a little bit too high still. I put it on 0.5. I think that's going to look much better like that. I'm looking for any crossover here you can see is a little bit of crossover and I'm not too happy about that. I'm going to do is just going to grab this and see where it needs to cross back. As you can see now, that looks a lot there. I just check any more crossovers. I think though the rest of that is absolutely fine. Yeah, This is looking really, really nice. All right. Now, let's apply all of our modifiers. Object convert, mesh. And then what we'll do is join it all together, Control J, right click shapes move, Autos move on. Then finally, we will add a modifier and bring in the bevel. I'm just going to make sure control all transforms, right click origin to geometry. And then I'm going to just check now my bevels on there and make sure they're all okay. We can see that metal again is probably a little bit high. Let's try no point or no five. Or no point all three. And I think no point all three is going to be It's going to log bare for us. All right, think that's going to be okay. Let's press control, join it all together and now I can get the top and the bottom. Press control, J join it all together. You can see they're messed up because we've got a bevel one here as well. Let's apply that first, then join it all together with Control J. And I'm just checking around now to make sure everything's done. I'm thinking that I'm probably going to have to bring up these planks a little bit. I should have done that before, but anyway, let's just make sure I've grabbed it in edge. Bring them like so. All right. So that's looking pretty good. Now, we need a few more things to go before we actually finish this. So let's put it on material. Pretty much all of the material is made with wood apart from in fact, all of the material is made with wood except some of it is a little bit darker. Let's bring in two types of wood. What I'm going to do is I'm going to grab this and this. I'm going to press control and L, and I'm going to link materials like soap. Then one going to do is, I'm going to grab the whole thing. I'm going to press tab A. Look at my material, so you can see we've got decgal. We don't want that on this, let's just minus that off. Now, what we do one is these two here. I'm going to press A, and Smart UV project. Click. Now let's go back to my UV editing. A to grab everything 90, spin it around. Let's press the little dot born, so I can zoom to it, and now let's check out what that actually looks like. Really, really nice. The only thing is, I can see We've got a difference in the size of textures. Let's go up to UV. If ever that happens, by the way, and you can see there's a difference in scale, just check to see, first of all, if you've got average island scale. What I'll do is it'll make sure that all of these islands are the same size based on each other. Average island scale, you can see change them slightly there. Not north. Now what we're going to do is just pull them out very slightly. Now you can see d loves the tomb. Now I'm doing, I'm just going around, making sure they're going all the right way. I think they are. The one thing I would say is that these here, they need to come out a little bit. I'm going to make sure that I'm on individual origins, individual origins, and then I'm going to press S and X and just pull them out a little bit because I actually want to put some bolts on there. Now I can see they're looking a little bit better. Now, I think that these should be metal and not wood. I messed up there. Well, we do, I'm going to take that off. I'm going to click the down arrow and click my and bring in the M do then there is grab both of these And assign that I'm moreso going to assign to these going around here. I'm going to click Shift click Shift click Control plus going all the way up, dark a sign. There we go. Now it's coming together. Okay, looking all there now. All right. I was a bit way it wasn't quite looking right, but now it is looking really good. Now, these planks of wood on the bottom, are they too much in? I'm going to grab these L L L L and L. Then what I'm going to do is I'm going to make them, I think, a little bit smaller like that. Yeah, now they look much, much better. All right. I'm happy with that. Now then the last things we need to do. Let's get some bolts in here first, and then we can start worrying about the blood. Shift, bring in the bolt. Let's press seven to go to the top. Let's put it into place. Let's make it, much smaller. Like so. Let's pull it over to this side, still smaller, like so, and then let's pull it out. I press dot, I should be able to put it into place now, like so. Then all I'm going to do is shift D, bring it up, grab them both, shift D, bring them over, and then finally grab them all, join them together with Control J and then shift D, put them over the other side. Grab this little red, put it over the other side like so. Grab everything now. Control J. And there we go, shades move. Just make sure my to smooth is on which it is double tap the. That's fantastic. Now the last things we need to do is I'm going to save it out, and I'm going to bring in now. Modeling. Bring in some blood decals. I am actually going to grab this one. I'm going to put my blood decals out here because it's going to make it easier for us. Shift D. Let's come and minus that off. Then what we'll do is I think we'll go and check them first, as we've been doing every time, textures, and we can see blood textures. We've got blood one, two, and three. We'll actually name them that as well. Blood one. Then we'll do Shift D. Then two. I need to do is minus that off, click and blood two. Like so, and then shift and we'll call this minus it blood three. So. All right. What we'll do then is now we'll go to shading. And we'll come to this one first. Control Shift and t now let's go up. And what we're looking for, are different types of blood, where did I put them blood textures. There we go, blood one bring in this one. I've got the wrong one there you can see, it's open GL for blender Okay. And now come to the second one. So this is blood two. These three. And finally, then this one here, control T let's go up. And these three here. Like so. All right. There we go. So there are three types of blood now. Now, if we go back to modeling, we might be able to get away with these without actually using them with the shrink wrap or we might not. It just all depends. Sometimes we'll have to actually cut them out of those central points as you can see, because we don't actually want those in there, we might have to put bevel in them or just work around it. That's another way you can do it. I'm going to just grab all three of these to press shift. I'm going to bring them over. And I'm going to now put them in place where I want them to go. Sometimes as well to put the decals on. It's much easier to split the thing up. We're actually probably going to do that. I've got the split up for the moment, so press P selection, and now I'll do is I'll also edge select grab the actual stocks, and I'm also going to split those up as well. There we go. Now, let's hide both of these out the way. Let's come to our first one, which will be this because if we chop the head off, you're going to have this probably left so x -97 to go over the top. And let's put this into place like so, and I should be able to get away, I think without actually using my look how far I can go down. Breastf shift, bring it up a little bit. Yeah, something like that. You can see that there's a little bit popping there. We don't really want that. Let's bring it up a little bit more. There we go. Now I'm going to do is just do a quick check on that, see what it looks like. You can see how it's actually going down the ends there, and I don't really want that. I actually want it bending at that end. We'll do that quickly. What I want to do is, I want to come to this. I want to press control. What I'm going to do is I'm going to probably move it over here. If I grab it all the way over there, I can move that then back, and now I want to rotate all of this. Now rotating things like this, normally, it's pretty hard to do. We'll actually shift click Control plus going all the way up to there. That's three on the number pad, and what we're going to do is going to rotate it. R x 90. Then we've got to fit that back into place. If I bring this over here now and bring it down, we should be able to fit that back in place. Now, if I press tab, double tap the A, and there you go, now you can see it's fit in place really, really nicely. Now the next thing I want to do is so I don't want them come in on the bottom like that, so I want to actually get rid of those. I'm going to do is again, edge select. So Shift click, bring it down to like so. And then what I'll do is I'll come Shift click Control plus going all the way of delete and faces and then tab tab there we go. Now you can see that looking really, really nice. All right, so I'm really happy with that. I will need some more blood supply, probably along here as well on top of this one, but we'll do that on the next lesson. Thanks to Libyon and I'll see you on the next one. Bye bye. 71. Combining Knife & Shrink wrap Tools: Welcome back, everyone to Blender and Unreal Engine becoming a dungeon props and this is where we left off. Now, the thing is that you might not want I put this on here so you can see properly. You might not want your blood to be quite so transparent, let's say. If you don't want that, the other thing as well, I'm wondering if I click on this. If a man put the shrink map on here. Let me just try the shrink map. So I'd modify shrink wrap surface. I' going to do that. I don't know why it's gone like that, but let's see if I put it on the I'm going to put it on the surface, and I'm just going to see and bring it There we go. That's looking at tomber when I brought that up. Yeah, that's looking bad. All right. That's the way to do it. Now we've got that. Let's worry about our shading. Let's go to our shading. What I want to do is I want to have the option to make this more transparent or not look as clean as this blood does. Basically, let's come in. What we're going to do is going to bring in a mix shading so. I'm going to drop that here. I'm going to plug this into the bomb unplug it. Then what I'm going to do is I'm also going to bring in another shader now, and it's going to be a trans transparent. We're going to bring in a transparent, we're going to drop that in there, and you'll see that that happens now. The closer I bring this down, the further I bring it this way, the more visible it actually is, which is really good because then it makes it look as though that blood has been sat there a long long time and it's not actually fresh. Now, what I'm going to do is I'm going to grab both of these. I'm going to press control. I'm going to come to my other then, I'm going to move out the material output. Press control V, drop that in, and then hopefully, grab just this one, I should be able to. Maybe not. Drop this into here like so, and then I'll do the same with this one here, and I now have control over how transparent my blood is, which is exactly what I want. The those. Now, let's come to this one and we're going to use this one as well. Shift D, let's bring it over. Let's spin it around, so y r 90, we can do it either way. It doesn't really matter. I'm going to make it a little bit bigger. So. Then what I'm going to do is I'm going to drop it down into place now. In that's going to look pretty nice. I'm also going to also use my Shri wrap. I'm going to click the surface to be this. Then all I'm going to do is going to bring your pop like holding the ship born just a little bit. I actually goes maybe not quite bring it a little bit back. Like so maybe maybe a little bit more so it touches there. Something like that. All right. That's looking pretty nice. I like that a lot. Now, what I'm thinking is I should make this a little bit bigger. So just so it covers most of it. Then also, now I can actually mess around with the transparency, as we've said, bring it even brighter, bringing it dire as though it looks like it's been rubbed off, something like that. I think that's absolutely fine. Now you can see that we do have a problem with the cross over. And if I have a problem with a crossover, what I tend to do, I'm just looking to make sure going to put this onto there. What I'm looking for is to make sure that I can actually delete some of this out. In other words, it's a look, put it back on. So I can actually see what I'm doing. I just want to make sure that I can actually see what I'm doing. I need to grab this press H just to hide it out of the way. Now I can see that this part here, I need to double tap the A, and I need to cut this away a little bit. If I press k, I'm just going to call quick hole in this, press the end to board. Come in now, grab all of this. And press delete and faces and let's press double tap the A and there we go. That looks a lot better than what I did before. All Let's press saltH now and you'll see that that now fits really nicely on there. Now we want another one, we're going to put this on the front of it. So if I press one, I'm going to fit this on the front of this, I'm going to make it a bit bigger. Then I want to go down here. Now as you can see, Probably not going to fit as well going that way. I don't actually this might not actually fit as well as I want it to on this one. I think it needs to come across here and then just have maybe that. I don't actually think that one's going to fit as well, so I'm just going to look at the other one I've got. I'm going to move this one out the way. The one I'm going to do is think I think I'm going to just put this one. This one on here, something like that, I think. I think I'm going to use it like this. That'll be the best thing. All right. Now I've got this straight on. What I can do is, I can cut out basically this. If I double tap the eight, I can cut out round here. If I go on now, I can just hold control, and just basically cut out all the way round here. So present it, and what I can do. It's a shame that once I click that, you didn't let me actually do that, but I can just come in now mark a scene and then come in. You can see I've got this running. The animation, I don't need that running, so I'm just going to press out complete basis and there's that bit. Now I need to do the same thing with here. Again, going to come in holding control, clicking around these I don't want any floaty bits in the air or anything like that. I want to be relatively round to here. Now, bearing in mind that you might want to use. If you can't use cycles in this, you might not be able to. Then you code on here with Z, so you can use your wire frame and just cut around these parts. That's going to be an easy way to do it. Let's mark seam. Let's come in then, grab this one, clete faces, and now let's come in and do the same thing on this one. Control click going all the way around. So so I back up to here. Pressing ends born and now finally let's come in. B all these going all the way around Mark see baectl delete faces, and now let's come and get rid of the rest of these. What I'm going to do is, I think, I'll just use the bisect that's going to be the easiest way. Mesh and bisect and I'll away here because it gives you so much control as you can see it can bring that down, even though I pray on I zero. And then I will bring it down a little bit more. Then what there is, I'll clear the inner like so, and I'll press tab, double tap the A and there you go, you can see it looks really nice. Now, let's pull this back into place. Let's do zooming. I just want to see I think actually that's going to be close. Is going to be close enough. Probably close enough, you can see, we've got a bit of shadow on the back. Again, we use add modifier shrink wrap. Click on it, and then just pull it out holding the ship born very slightly. Like so. There we go. Double tap the A. There we go. Really, really nice. All right. So finally, then, let's come to modeling. And what we'll do is we'll grab it all. I'm going to put it onto material mode, and I'm going to move my guy out of the way. I'm going to grab it all now with B. Just looking at these parts. I know they're coming from there. I don't really want those in there. I now I can see them properly. I'm going to actually delete those off, delete bases so. Then one going to do now is I'm going to grab the whole thing with B, and I'm going to come up and I should be able to just click on, where is it object, come down, convert mesh. Join it altogether to the main one that I did. Control J. Let's have one final look at it. Double tap the A. There we go. You can see it looks really, really good. All right. Now we've done that. Let's put it back on material, and we're going to call this stocks when it comes up. On material. Let's leave that the way. I don't need that because I've got my the blood all set up over there for when I do need it, and then what I'm going to do is, I'm just going to pull that back onto something like that. Then come over now. And it's this one here. I'm going to call it stocks. I'm also going to make a new one, new scene collection. I call it stops. So I'm going to drop this in my stops, and then the right click, mark as I set, and I'm just going to close these up. You can see I've got a bookcase in here. Which one is that for? Let's press dot. You can see that's nothing. I might as well. Actually, bookcases. Oh, it's actually made it a collection, so clear asset. I made the actual collection as a bookcase. Then actually, you could do that, but that's actually quite nice. All right. Stocks, let's go now to asset manager. Let's find our stocks, so where is our stocks? Can actually see it on here because it should be on this one here. All right. We've got a cage, got this I'm going to have to do a search. So let's search for stocks. There we go. So hard to see on there, not sure why. Let's put it into props. Let's go to props. Let's bring it out and finally, just put it on to the render view, making sure that Ws, Richard does. Now again, turn that off, bleat out of the way, put it onto modeling. And there we go. All right. On the next one, what we're going to probably make a start off, we'll do the x. We'll do the X because we've just done this one and the x has some gonos that are in there on it. We might even do the x or the actual candles. Either way, though, we've taken up a level now, and we've only got really the more complex things to actually build, so that's what we're going to do. All right, everyone, sop enjoyed it. I'm going to save our away and I'll see you on the next one. Thanks a lot. Bye bye. 72. Starting our First Geometry Node: Welcome back, everyone to Blender and Engine becoming a dungeon prop artist. Now, I think the next one we should focus on is this one here, so if you just get this reference out. Now, this reference is very easy. Once you've actually got everything already in your blender file, and one of those things is actually the chain. Now, chain has been notoriously difficult, at least all the way through my career. But since Blender has now brought in something called geometry nodes, it makes it so much easier. And I'm going to show you how to set up the geometry nodes and how also to on the right hand side, a lot of variables, so actually you can make the chain, whatever thickness you want, whatever length you want, and you can make it come together, you can make it as stylized as you want, as realistic as you want, and everything like that. It makes it really, really easy once you've actually got this in place. Best of all, you can actually append this and bring it into a blend file, which will also cover as well. Let's put this out the way just for now, and what the first thing we're going to do is we're going to bring in a bezier curve to actually work with. If I put my actual curse to the center, so ship cursor to world origin, and then what I'll do is I'll press ship and bring in a curve and bring in a fed curve. I'll come in, something like that. Now don't worry about this at the moment. This is basically there just so we can set up our geometry note. You will notice in your blend f as long as you're using Blender 3.0, I think it is and upwards, you will have a tab that's called geometry notes. If you're using anything below blender three, by the way, you won't actually be able to follow along on this. You'll have to create the chain actually manually and move it around with proportional editing or something some other way like that. So let's go over to our geometry notes, and what I'm going to do is I'm going to click new, and I'm going to name this for chain because we're going to have two of these, and the first one is going to be chain and the other one is going to be rote. Plus, if I name this now and come and let's do external data, make sure everything is automatically packed and then go to save. Now what I'll do is if I then go to APN. So on another blend file, if I go to APN which will cover, we then will be able to bring in this geometry note. I am going to show you that after. But for now, Let's actually crack on with our geometry note. I'm going to pull the group output all the way over here, and this is the group input. Now the thing to remember about the group input is basically this is where you're going to get all of your variables on this side, and this is where you can mess around with them to your heart's content. So the first thing I'd like to bring in is two curve circles because obviously it's a change. So let's actually zoom up to this as well so we can see what we're doing. So what I'm going to do is I'm going to press search. Shift A, search, curve circle and you'll find it right down at the bottom here, bring that in. Now, I would suggest that at the moment, just follow along what I'm doing. There is no set order I'm going to put these into. Basically, I'm just going to be bringing nose in. If you follow along, and then in the end, you'll actually start to get some understanding of how these actual nodes are going together. The next one we're going to do is another curve circle. I'm just simply going to press shift and bring it down here. Now, before you ever plug anything in, it's important when you're setting up something with a lot of variables that you actually change the variables while you actually got the actual node. For instance, on this one, I'm going to change the variable viable down to three for the resolution. What that's going to do is it's actually going to make it so that when I first put the geometry node onto my curve here, it will be set to three as kind of the devol. Let's now put the radius on not 0.91. Let's come down to the second one now, and what we're going to do is going to put this onto three as well, and we're also then going to put the radius onto not 0.2. Now, what we need to do is we need to tell blender to turn these curves into actual mesh because at the moment, all they are is curves, as you've seen like the bezier basically this, which is sorry They're just curves and they're not actually mesh. Let's press shift A and we're going to do a curve curve to mesh. Curve two mesh. Then all I'm going to do is I'm going to plug one into my curves, which is this one here, and then one into the profile curve. One is basically telling it to turn the curve into a mesh, and the other one is telling it how big the profile should be. Now I want to do is I want to go back to my group input. If I plug now this into my resolution and I plug it into the resolution down here, you'll see on the right hand side now because this is the group input that we actually have something called resolution. Basically this is how Many of edge loops, the chain is going to have in them. Now, the best thing of all is if you press the end button, or this little arrow here and unplug it, you will see if you come down to groups that we actually have those here and you can actually go in and rename these as well. So you can see now, if I click on my resolution, we can actually change the default value on here as well. So you've also got that ability to change it. And we will be changing some of these as well. We grab this empty slot here and we plug it into the radius, which is here, you will see now that we've got one that says radius. I want to call this chain radius. Basically, I want to know that that is the one that basically says how what is the radius of each of these chain links is going to be. That's why I've changed it to that right now. The other things is, of course, you can see, we have a default, we have a minimum and we have a maximum of infinite. You might want to set this so you don't actually create something to chunky or something like that. Now, let's give our chain some thickness. If I grab this bottom one and plug it into the radius here, you'll see we've got a new one. Let's come in and change this to chain thickness. You understand which one it is. Now we need some way of changing these chain links. We need to say that we've got two circles at the moment for two links, but we need a way of actually swapping them round. In other words, we need one link face in one way, one link face in another way. The way that we're going to do that is we're going to bring in a transform. If a press shift a search, you'll find one that says transform. We also need to know which axis we're going to be changing these round on. The moment what I'm going to do is I'm going to plug in my curve to mesh. This is going to be plugged into the geometry. This is basically telling the transform. Hey, this is the geometry we need to actually transform. Next of all, we're going to bring in an combined x y z, shift D search, combine X Y Z and just drop that in there like so. Now, I'm going to drop my vector onto the scale. So it's the scale that I actually want to alter with the X Y Z. And basically, what I want to do, now I put this one on one, put the y on zero and the Z on one so because I'm going to actually plug something into the Y. So into the y, I'm actually going to plug this from our group output into our y, like so, and then you'll see that we've got another one called y, and this is going to be the chain stretch. So basically, I want to be able to control how how close the actual chain links are to each other because when we change up the resolution, the chain links, they might become too far apart, and they might overlap each other. So we need a way of actually controlling that. So I'm going to call it chain stretch. So now we've got a way of actually moving the chain links further apart. Once I've plugged all this in, you will see exactly what all of these attributes do. I'm just trying to explain it along the way. Now, the default of the chain stretch. So this one here should be actually set to one, and you can see as well that over on the right hand side, our actual chain stretch here isn't actually set to one. So we should always have this set to one. I don't know why it doesn't change that from the default. I'm going to change it to one now, like so. And then we shouldn't have any problems when we plug all this in. So I think maybe it's something to do with the minimum or something. Maybe if I actually can I unplug that? Change stretches set to one. Let's see if I plug it back in. Yeah, and it's set to one now. I'm just wondering if it's because I plugged it in too early, and then you couldn't reset it on the default. But either way, just make sure it's set to one here, make sure it's set to one here because you will see that if I bring this down too far, that it will kind of really mess around with a chain and make it look not right at all. Now, we need a way as well as telling blender which points, it's actually going to go along along this actual bezier curve because basically we want it so that the longer we make this curve, the more chain there is, the more we move this curve around, the chain actually fits to the curve. The only way to do that basically is to tell blender to fit it along the length. If I bring in a point curve, search 0.2 curve, whereas it points to Curve to points. There we go. Sorry, not points to curve. Curve to points. And then if we go down, you can see at the moment, we've got it on account. That's not what we want it on, because if you have it on account, it will just do it every count along the curve. So if I press tab on this curve, you'll see at the moment. I've got two vertices. So all it'll do is it'll put a chain link here and a chain link here because it'll basically make a count. The count won't change. In other words, if I pull this out, it will still be ten. So I'll just basically put the links along the length of the chain. We don't really want that. What we want to do is to follow the length of the chain. To do that, all I need to do is put this down to length, and then I'll just change down to not 0.14. I know it's not 0.14 because I've actually been playing around with this and set this up, so it's absolutely perfect for you guys when you come to do it. Now, at the moment, this is how far we've got, so you should have something like this. We're going to end it here and carry this on. Hopefully, we should get this finished on the next one. The rest of it is relatively simple, and then you've to see how it's used. I think it's important that we did take a little bit of time 10 minutes or so. Just explain the process of doing this because when you've actually got this in place, you'll be using it in a lot of different things. I'm absolutely positive about that. And also, you'll probably want a way of setting up your own ropes and things like that. Everyone, so I hope you really enjoyed that. I hope you found it interesting. It's a little bit different from the modeling, I know, but still it's absolutely fantastic geometry notes of. Alright, I'll see on the next one. Thanks a lot. Bye bye. 73. Adding Variable to the Geometry Nodes: Welcome back e one to Blender Engine, becoming a dungeon Ppartis and becoming a dungeon Pparis you sure are going to need to know something about geometry nodes. So this is where we left it up. All right. The only one on the group input, that is the main one. Telling you base of where everything is, is this geometry, of course, because this is the input. What I need to do is I need to bring the geometry from here and plug it into the curve to points. Then basically blender can base all of this stuff and put it along the points along the actual curve. The next thing I want to do is I want to weigh of controlling the actual length of each of the actual curve. What I'm going to do is I'm going to plug this into the bottom of here, thereby giving us a new one, which is called actual length. Now, this here is not going to actually be the chain chain length. What it is is, it's actually the link distance from each other. If I scroll down, you can see a gates called length here. Now, what I prefer to do is move this up the list of options. Basically, I want to set the resolution of the actual chain, and then I want to change the distance between each link because the resolution really does go with the actual links. The smaller resolution, the closer you need to bring those actual links together. What I'm going to do is I'm going to move this up, so I've got it clicked on, I'm going to move it all, then what I'm going to do is I'm going to name it link distance. So we actually understand what it actually is plus enter, and there we go now. We pretty much got all of our options set up now. Now, as we've got pretty much all of this done, let's start bringing it all together. So the first one I'm going to bring in is an instance on point. So instance on points, like so, and let's just drop that there. Actually, I don't want to drop it there because I don't want this going over there. I actually want to plug it back in. So basically, I just want to have it over and over. I'll actually drop this below, so I can actually see what I'm doing properly. Now, because I've been fiddling around with this a little bit, the first thing I'm going to do is I'm going to get my points. I'm going to plug them into my instance two points here. Then what I'm going to do is I'm going to come down to my scale and just change them down to 0.1 because I know that when I had them on set on one, they were way way too big. Let's put it on 0.1. Again, once I've finished this, you can mess around with these if you want to, you might want your chainel to be a lot bigger or the whole thing to be a lot bigger. Once I've done this, as I say, you can actually do that. Now, of course, because we set up the rotation already on here. This fit in the actual length. We actually want to make sure that we keep that actual rotation from the curve to points. What I want to do though is I also want to make sure that each chain, so every other one is going to be rotated independently. The first thing I want to do to do that is I want to clog this rotation into this one here. That then we'll make sure that we've got the same rotation going all the way along. Now, finally, for this bit, what do you want to do is want to take all of this data and plug it into this instance on points which tells Blender that this is basically every single instance from all of these circles. If you can imagine at the moment, we've basically got one, just circle after circle, interlocking near enough together with a actually not actually swapped over. So at the moment, they're just in a straight line. But what do they actually mean by that. Well, if I plug this in right now, you will see that we end up with something like that. So we can see that we have got our resolution, so you can see that I can actually turn up the resolution of the links. But at the moment, they're not actually bent or turned or rotated around the correct way. Also, they're all the same way. But the best thing is they're actually following the actual curve. So at the moment, you can see if I pull this out now, I can make more of them. But they're just not in the right way at the moment. So we're actually getting some way. So what I'm going to do is I'm going to put this back on three. And then what I'm going to do is now I'm going to actually finish this off so we can actually get these turn the correct way. So let's have these rotated now. To do that, all I'm going to do is I'm going to press Shift A and bring in one that's called rotate instances, rotate instances, drop that in there, and now I've actually got control of actually rotating every single one of these little instances. So let's rotate them around first. I've come to my zed and I put this on 90 degrees, something like that. And now what I want to do is I want to actually tell Blender to actually rotate every other one. The way I'm going to do that is I'm going to bring in a math, math. And under the map, you're going to have one that's called modulo. A Modulo is basically going to take sample every other one and basically turn it around. If I bring in a modulo, which is this one here, and then I plug that in two, my rotation. I'm going to do, I'm going to plug the value into my selection, and we'll end up with that. Now I need to do is turn these around. What I'm going to do is I'm going to bring in an index, index, drop that in there. I'm going to plug this into the top off here, and then finally, I'm going to change this to two, something like that, and now we can see we can start to get somewhere. Now, as you can see, at the moment, they're all facing the same way, and we don't want that because I actually forgot to turn round my rotation over here. If I spin this round to 90 degrees, There we go. Now they're looking a lot there. Now you can see that we're nearly actually finished with this, even though they look a little bit weird at the moment where you will see as soon as I start to turn up the resolution and mess around with these variables, then it all start coming together. Now, we do need a way of actually also being able to turn this into mesh. This is really important, actually, because you can make these geometry nodes, but you can't actually turn them into a mesh unless you drop, a node into this geometry node chain. First of all, bring this all together with shift A, and I'm going to look for is joint geometry. Join geometry. I'm going to drop that in there. And then what I'm going to do is I'm going to drag the geometry. You can zoom in. You can grab it from me and then just pull it across and you'll see all moves with it, which is really great. What you want to do is just place that under there. All I need to do is I need to actually realize instances. So to realize the instance, I basically need to bring a node in, and what that allow us to do is actually make sure that we can actually turn this into mesh. If I've got to object, convert and try and convert this at the moment to mesh, nothing's going to happen. It just as you can say, stays the actual same, deletes it, and that's not what we want. Press control Z and what I put in is realize instance, so search with shift and then realize instances. Now when I come in, drop that in here to object, go down to convert to mesh, you'll see it now gets converted to actual mesh. And a press controls now, and basically what we're going to do now is I'm going to show you how this actually works. So you can see the best thing about having this on the right hand side is that I no longer need to actually go go into actual my jot notes. I can basically it all from here. So if I turn this up, as you'll see now, as I turn that up, it gets more and more resolutions. Now, because we have both of these. On the resolution here. If I click on where is it the curve circle, which is this one here. Let me just find my link distance chain radius, this one here, the resolution. If I click on my resolution, you can see at the moment, they're both three. If I turn this down, as you'll see, we end up with it looking a little bit funky around here, but that is because the defaults on here are three. So let's see if I can turn this up. I don't actually think I turn it up here. I think what it is, is because I'm bringing the resolution. If I put and plug this, you can see we start off at three. As we start bringing this, we bring it up by four by five by five, so it's adding resolution every single time. To stop that happening, you might just want to set this on four instead of three, if you want some chain links like that. I don't think, however, that you're ever going to want chain links out like that. That's why I did it that way. I'm going to turn this up now. Something usable like this. Now you can see that we've got our chain. Now, what else can we do with it? Well, we can change the link distance, so we can actually put a lot more chains in there, or we can hold the shift button down and really have them stretched out, let's bring it back, not that way way. Yeah, something like that. We can also change the radius so we can make it thicker. Not thicker, bigger chains like so. That's really handy to know. We can also change the thickness, which is this one here. So I can have really red chunky or something like that. Finally, the chain stretch, which is the distance. Let's say you want some chains which are eelngated like some chains are. Then you can change those and then just change the distance, like so, and now you can see just how much control you've got over that. Now, the best thing of all of course is that we can actually move this round. If I grab this press G, You can actually move it over here, over here, over here, over here. You can actually move it all around, which is really, really great, and that's exactly what you want. Now, as I say, once you've got this now, you can actually delete this out the way, delete, and then what you want to do is go to file and save. Actually, before I delete it, I just want to make sure, very important actually, before we delete it. I'm going to actually just bring that out. I'm going to put the little shield on here. What that means is, if there is no user, so you can see here, it's a fake user. In other words, if no one's using this chain, so I haven't got anywhere, set up as a geometry node. Let's say I may call my chain, I apply it, I save out my file. This may disappear. And that's not something you want because you don't want to set all this up again. So the most important thing here is just make sure you click that on. What that's going to do is it's going to make sure that even if I've got no geometry nodes in this actual blend file, it's still going to stay there, and that's the best thing. So what I'm going to do is I'm basically going to click that on and then going to come and delete this. I'm going to delete this one, and I'm going to go up to file and save. Now, if I bring in another mesh, so let's say we bring in a curve, bezier curve. Now I want to do is I want to put the chain on it. So I'm going to click new. Go down, click on my chain, and we've got it back, and now we can actually set it up again. So you can see how powerful and how easy this is to use. So now what we're going to do is going to go over to modeling. So I let it load up. It will take a little bit of time because obviously, we have got a lot of materials in here now and things like that. All right. So as I was saying, now we can actually change all of this on the fly over this rating side without actually being in our geometry nodes, which is the best thing because it means we can just work our heart's content in the modeling section. All right, finally, I'm just going to delete that all the way. I'm going to come to file. I'm going to save it and I'll see on the next one, everyone. I hope you found that a lot of fun. I hope you can see just how useful that's going to be. We're also going to do one for rope as well, but we need to just get the chain one out of the way. All right, everyone. I'll see you on the next one. Thanks a lot. Bye bye. Oh. 74. Modelling the X Stocks: Okay. Welcome back, everyone to blend it and real engine becoming a dungeon prop artist. Okay so let's make a start then on our kind of X stocks, if you want to call it that. The first thing we're going to do is bring in a cube. We're going to make the base. And then what we can do is we can actually, I'm going to put this on object mode. Then we can actually start creating the chains, which we've just done with the Gonde S and y, let's put it in a little bit. Just going to get it to be the right size first. I want his feet basically to be on the end of here. I think something like that is going to be fick enoug. I'm not actually sure yet. So what I'm going to do is, I'm just going to move out of the center. Now, we'll show you actually a little trip. You can see at the moment, you've got your origin right in the sense like that. If you press tab and actually move it, you will actually keep your origin in, which is actually great now because if I want to bring in a mirror, I can actually mirror it from here without actually resetting the transformation. If I come in and press tab, I'd modify bring in a mirror, you'll see now we've got that in. Now I can simply grab the top of it. Like so and basically bring them over each other like that. Now the thing is, if I bring my guy here, you will see that there's no way his legs are going to stretch to each of those. So I in need to bring them in. So I'm going to come back to the bottom of here. I'm going to bring them in then like so. And I think now that's looking much much better. C imagine his legs coming out here and his arms coming up here, and I think that now is about the right size. Now, the one thing we don't want now, we want to actually apply this mirror. And then what we want to do is we actually want to change this so that this is okay going on the floor, as you can see, But these put up here, they're probably going to be cut off here instead, I would imagine not flat up there like so. The other thing is at the moment, we've just got them crossing over and we don't really want that. We want one basically in front of the other and the other one looking as though it's been cut around one of them, and then all bolted together or something like that. Let's do that now. If I press tab, press control a In fact, I won't press I won't do it that way. What I'll do is before apply my mirror, I'll press tab and I'll press A one, what I'm going to do is just cut it away with my bicect tool. Mh bisect, and let's just cut it away probably like there. Turn it round, clear out and there we go. I think that's going to look much much better. Now I can press tab. Now I can apply modify it, and now let's come in and move this out a little bit. You can see as well, actually, I did make a bit of a mess there. I didn't actually fill it up. Let's do it again. I'll show you again. I've grabbed it all. I'm going to come to mesh, bisect clear away. Like so. And then what I'm going to do is going to make sure I fill. Now if I press tab, you can see that filled in. Press control. That's important. If you want to fill something in, which has got a lot of meshing there and something. Something like this would be easier to fill in anyway. All right. Now, let's come to the front of here. I'm going to move my guy forward now. I want to come to the front of here, grab the front, pull it out a little bit. I'm going to come then to the back, pull it in a little bit like so, and now you can see it's looking much, much better. All right. Maybe I've gone, maybe, maybe. Yeah, I think actually that'll do so. All right. So now let's put the bottoms on here. Again, maybe I should have kept my mirror on for this, but I think I can get away with it. So what I'm going to do is press control. I'm going to bring it down then, like so. So something, something like that. And then one going to do is I'm going to do the other side now, but I want to make sure that the factor is the same on this side as well. I'm just going to go in press Control C, and then I'll come to the next one. Press Control, left click, bring it down, and then there's change the factor with control V, and now it'll be exactly the same as this one. Now the problem is that we can't actually move these up, as you can see, that when we try to move those up or actually bend them, so you can see, I can't even bend it. We have got a little bit of a problem with that. I think what we'll do is I messed up again, so I'm just going to go back before I actually apply this mirror. I'm going to go back enough to where I've actually got my mirror. I'm going to come in, bring my guy here. And then what I'm going to do is I'm going to bring in now another bisect. I'm going to press one. I want to press tab, I want to press A. You can see it's here. I want this going up here. I basically want his feet to be a kind of angle being very uncomfortable. I'm going to go to mesh. Sect, and I'm going to bsect it up here, something like that. I'm going to turn off my fill out. Turn off my fill need to fill anything in. I don't want to filling in the inside of here, anything like that, and there we go to think now that's going to look much better. Finally, now, I should be able to apply this mirror. Let's press control, apply the mirror. Now basically, I think we can work with basically whatever we've got here. If I grab both of these now, press the button, there we go, now his feet can actually go on there. Think that's going to be about. Need to pull them out a little bit. But you can see now how it's all coming together. All right. Now we've done that. Let's come in now. And what I want to do is I want to pull this out a little bit, so I want to pull maybe all of this out geostatd like so, and then I want to pull it all back. Just a tad like so, and there we go, and I think that's looking pretty nice. All right. I need to put it on the ground plane now. So I'm going to actually pick it up and put it on this ground plane like so. You can see now if he stands on those, it's going to be up here, so his arms are going to be up here like so and that's going to be. He's basically going to be a bit lower down anyway. So you can see if he puts his arms out. So one puts his arms out here. You can see how easy it is now to chain him up. All right. That's that. Let's put him out the way now. In fact, no, we won't. We will do one more thing. You can see at the moment that his wrist is this big. I just want to show you this. Now, if we bring in some wrist wraps, we can make them this size, but honestly, they're going to look a bit like tiny in comparison to everything we've built because we've built it quite stylized, so we just need to take that into account. Instead of that what I'm going to do is just going to prim over there and I'm going to make them a little bit chunkier actually. I'm going to do is I'm going to press shift A. I'm thinking that these probably are going to be metal or are they going to be, maybe will actually be lever we'll make them lever. What I'll do I'll bring in I'm thinking to bring in a cylinder instead and do it that way. Probably going to be easier. We'll do that. A we'll do is we'll bring in a cylinder. I'll keep it at 18. That should be absolutely fine. I'm going to press S, bring it in to the size I want it. Maybe something like this, and then S I'm thinking that's probably a little bit too big, maybe a little bit smaller, something like that. All right. I've brought that in now, let's come in. And what we'll do is we'll two here, delete, delete faces, not edges, and there we go. Now, let's think about splitting this up. If I grab this part here, delete, faces again. Now what I want to do is I want to bring this out and join it over it. If I press seven now, we can see that I can actually move it. I can press, like so and, like so and like so. Then what I'll do is I'll also think about moving this. If I grab this one, press seven again over the top, press G, and then come to this one. Seven to go at the top, press G. So. All right. Now I can give this some thickness and hopefully make this into a leather strap or something like that. Let's press control. A all transforms, right click origins geometry. What I'll do then is come in and bring in a solidify. I'm going to make it relatively thick even thickness on and now I can move it around to my heart's content and get it actually thick. I'm thinking something like this thickness, relatively thick. And now I want to do is bring this out as you can see. I'm just going to come in. I'm going to grab this seven. I'm going to press and then, and like so, and I think that's going to be fine. Now all I want to do is I basal want to bring this one back. I'm going to bring them back into place, seven. I'm going to press G, bring it into place, something like that, and then I'm going to grab this one, seven, and then G into place like so. All right, that's looking fantastic. Now, if I grab this n and press S and, you can see also I can bring it in and it's really starting to come together and look like an actual strap now. Let's come in then and apply that, so control A. Then what I'm going to do is I need an actual n that's going to go round here. The way I'm going to do that is I'm going to grab this part here. I'm going to press Control, two, left click, right click. And then one I'm going to do is I'm just going to steal this now. L shift and click Shift D, like so and then just press Shift H to hide this out of the way. So shift H, hide everything else out the way, and you're just going to grab the back of it, and then what you're going to do is put this on normal and you're just going to pull it out. Now, bring everything back with lt H, and now you can actually fit this into place. If I grab this, pull it into place like so, and now basically split this off. If I press L, just to grab it all P selection, split it off. Grab it again. Control ale transforms rightly. Sargento geometry, add modifier, bring in a solidify. Let's pull it out the right way. So something, something like this. Let's put even thickness on. Maybe that's a little bit too much, so let's bring it in. Something like that. I think it's absolutely fine. All right. Let's apply that so Control A. And then finally, let's just level these ends because they're a little bit too sharp. So just grab all of these ends. Control B, level them off. So maybe put it on two as well, but turn up the shape, so it's not quite like that, something like that. And that looks absolutely fine. All right. So now we just need one point actually coming out of here. So a metal part just coming out of here. So what I'll do is I'll press shift, a selected. And then finally, all I'll do is press Shift A. I'll use an actual cube actually because I don't want anything too much in there, so I'm just going to use a cube. I'm going to press the dot board. I go to press S. I'm going to bring it out a little bit like so. There we go, all we want is just something to be the right angle. So I'll, something like that, and then just level these edges off a thing, and that'll be fine. As the illusion of something holding this together. So Control B. We could go in there, honestly and put in all kinds of booleans in here and things like that, but I don't think I'm actually going to do that. So the last thing then before we end this lesson is, I just want to devel these off. So if I come to this now, I'm going to go in shift and click Shift click Shift click, just to basically devel all these off because at the moment, they are a little bit hard edged thing. So Control B, bring them down. So turn this down to one instead, and now and what I'm going to do. I'm just going to check those out, and you can see now it looks a lot more realistic because we've done that. All right, on the next lesson. Then, what we'll do is we'll get these backs of these straps on, and then we'll get some actual chains popped into those. I think actually we'll get the back on there. Then we'll start putting in the little things where the chains come out of, and then finally, then we'll put our chains in and then put these on. I think that's going to be the easiest way. All right, everyone, so I hope you enjoyed that, and I'll see you in the next one. Thanks a lot. Bye bye. 75. Working with the Loop Tools Addon: Okay. Welcome back, everyone to Blender and Unreal Engine, becoming a dungeon prop artist, and this is where we left it off. Now, let's come into this one first, and what we'll do is we'll put the backs of this on. I'm going to grab these and I'm going to come with face elect shift click Shift click. I'm thinking I'll probably grab it on here as well. Shift click Alt Shift click. And then what I'm going to do is going to press enter Altern bring it out, like so, and now you can see I can actually put my actual chains on the back of here. Let's actually do that now. I'm going to come. I think actually I'll use maybe. I'm just thinking if I should use a new technique which you've probably not seen before, I'll give that a try. Let's give that a try actually. I'm going to do is I'm going to pull this out with in work, it might not actually work. Let's see if it does. Then what I'm going to do is I'm going to press Control. I'm going to bring in let's say four edge loops. Then what I'm going to do is going to bring in cont click click control click right click. Now what I'm going to do is I'm going to show you a new technique. If you come up to edit, go to preferences, and what we're going to do is going to go to add ons and we're going to look for one that's called loop tools. Loop tools. This one here, click that on, close it down. Now you want to do is just go in and select all of these actual faces. If I come in, select all of these faces, like so, come underneath, select all of these faces like so. And then what I'm going to do? Now, when I right click, you'll have one that's called loop tools. And if I come in now and press circle, you'll see now that I can actually turn this into a circle. Now the thing is I didn't want to turn it all into a circle. So what I'm going to do is, I'm just going to go back and I'm just going to grab these ones in the center here. Instead of doing that, grab the ones in the center. As I say, even if this doesn't work, you still learn something new. I'm going to grab these in the center, right click and put a curve sorry, not curve. Circle like so. Now you can see that we've actually got a circle already done for us. Now, the best thing about this now, I can also use that loop tool to right click come in and click bridge. What I'll do is I'll just create a bridge straight in there for me, which makes it really, really easy then to put some chain in there or something like that. Now, what I'm going to do is I'm going to actually level this off, so I'm going to come in and bevel it off, so I'm going to press control B and just have a look how that's going to bevel off. I think it's going to actually work this. The one problem I've got is I need to move these down. So You can see at the moment that these probably need moving in a little bit. I'm going to grab this one and this one. I'm going to go over the top with seven. I'm going to make sure I've got proportion that it's no. Make sure it's on smooth, and I'm going to try and see if I can bend it in. You can see at the moment, I've got it on normal. I don't want that. I also want it on median point. Let me see now if I bend these in with bringing it in and x, can I bring it in a little bit. Yes. I think that's what I want. All right. Now I can come and level these off. Control B. Level them up a little bit. Now you can see they look really cool. All right, I'm happy with that. That's good then for chains. Let's put this over to this side. I'm going to go up now and save out my work. Now what I'm thinking of is actually bringing in my actual change. But before I do that, let's actually make the actual fixings that go on there. We'll do this out of here. I'm just thinking forgot this. I need to join this together. Let's just join it together before we forget. Control J, join it all together, move it over there. I think also while we've got it, let's just shade smooth. Let's put it onto alto smoth because we're going to be copying this over there as well. So I'm just making sure it's basically finished. It looks finished now. I think I need to turn up the Auto smooth. Maybe a little bit for this. Let's see how far I've turned it up. Yeah, it's going to be pretty high if I turn that up. And I am joining it to the rest of it, so I do need to take that into account. So I'm just wondering on this, can I just grab it all face select, right click. And instead of that, just shade it smooth. Yeah, some reason I don't know why, but Blender, you know you can never shade it smooth in that way. Let me try it again. So shades moo. Just wondering, you don't even get an option down here, so not sure why that is, but unfortunately, I can't shade it any smoother than that. So I'm going to have to put it on 30 because when I join this altogether, it's not actually going to work joining it altogether. The only thing you could do is probably parent it up or something like that, which we're not going to go into right now. All right. So let's make the little links now, what we're going to put our chain tubes. I'm going to press shift A, create a cube. I'm going to make the cube smaller. Basically, I wanted to make sure that the links can come from this and to this. So I'm going to press S, bring it down. S y. And then what I'm going to do is I'm going to make my links now. So the way I'm going to do that, I'm going to press Shift A. I'm going to bring in, I think, probably probably another cube. So let's see if we can do it with a cube. I'm going to press S. I'm going to bring it up. So I'm going to press S and y, sorry, pull it out. Then what we're going to do is I'm going to pull it up into place like so. I'm going to bring in now an edge loop, so control, bring in an edge loop down here. And then what I'm going to do is I'm just going to pull this up so without proportion of it's pull this up. Now let's give this some more edge loop. So control Tree, control three, and now I can grab these in the center of here. These are four here. I'm going to do basically what I did before. C, select, like so, and then we'll just do our edge loop circle and let's pull it a bit wider. S and pull it a bit out. Then all we'll do now is right edge loops and breach. All right. Now, let's come in and actually bevel those up. So control B, level them off, like so, and there we go, that's where our actual chain links can actually come out of. Now the thing is the chain links, they might have to be a little bit fatter than these, or we might need to bring these in. I'm thinking like these are they're a little bit too chunky, so let's bring them in with S y like so. Yeah, I think I'm actually happy with how that is. I think what I'll do is just bring these down a little bit. So we grab each of these edges, bring them down, and then that'll enable me to level these off one more so conch B. Just make it a little bit more rounder. I think that looks a bit better. All right, with this one now, let's do them into it with dot button. I'm just going to come to this one here. You can see this is all of it and I need to make this basically thinner. So I'm just going to go over the top, press the boy into wire frame, double tap the e, come to face select. What I want to do is again, I want to use my C and just select them all. You can make it bigger as well by just scrolling the mouse wheel out as going to go in selecting all these like so and this one here. Z solid, and now I want to do is press S and Z and just pull it in a little bit because it's jaw is going to be way way too thick like so. That looks better. You can see I've lost a little bit of my um, of this bit here. I'm just wondering if I actually want to do anything about that because I can by bringing in an edge loop, so you can see. Yeah, I don't think I actually do. I think actually, I'm happy with that. So I think what I'll do instead is, I'll actually accentuate. So if I bring both of those, press controle mark a sharp, and there you go, that actually looks better for me. So yeah, I'm happy with that. All right. So now let's get these in place. So let's join. Actually, we will. We need to have something that looks as though these are held on with something as well. So what I'm going to do is I'm going to grab this while I've got it. Next, pull it out, and then what I'll do is I'll bring it in. In other words, I will Grab each of these. I need to reset my transformations first. Control A all transforms, right click the origin geometry, grab it again, Control B, and now we can bring it in. If I come to the top of it, press the eye barn, so insert. And then what I'm going to do is just drop that back a bit. E, bring it back a bit. Now finally, let's join this altogether. Control click shapes, finally to smooth, and now just grab your part, talk shift, bring it over. Seven to go over the top. Then what you can do actually instead of doing that, I'll just press shift, selections cursor, and there we go. It is all about speeding up that workflow after all. So I'm going to make this a lat a bit smaller, like so, and then I can pull it out now and have it fitting in place. Shifty bring it over and there we go. All right. Let's join it all together with Control J. Control J, join it all together and hopefully, that should be done now. Control click origins geometry. I'm just wondering if I want to level any of these parts off. I think I will, so let's see if we can. I'm just going to come in grabbing all these all the way around. So don't need to grab the underneath. That's actually going to be in the wood. I'm just going to grab them going all the way around. So let's press control B and just pull them out very slightly. Let's have a look at that. Yeah, that just looks at to better. I'm happy with that. Now, let's bring these into place. I'm going to press so one. I'm going to put it over here on this one, so it's going to be over here, and then over here. I think we'll do it that way. If I press now, y should be able to get into place like seven to go over the top and then let's just put it right near eng in the center. Something like that. I think what I'm going to do is though I need it to be a little bit higher than where it is, so we've got a little bit more chain, and then going to rotate it, so y, rotate it round like so. Then I'm going to do is I'm going to shift D and bring it down to the bottom now. Shift D. Bring it down to the bottom, Z 180, spin it round, and then just pull it out. To where it wants it to go on here. I think something like that. Maybe a little bit higher on this. Maybe. Let's put something a little bit higher. All right. Let's join both of these together with control J. Let's grab this now and we should have something in the center. Let's press shift Sura selected. Let's grab them once again and let's right click and set origin to three D cursor, add modify Then bring in a mirror. Put it on the y, and if that's not working, press Control A all transforms right click Origins three D cursor. Now just minus off the one that you want, which is all the rest, except the x. All right, hover over it, press control A, and there we go. Pretty much near enough done, accept our chain now, and then we can start bringing in all of our textures and things like that. We just need to do the bottom as well, but that's not going to take long. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 76. Adding in our Geometry Node Chain: Welcome back, everyone to Blender and Unreal Engine becoming a dungeon Partis. All right, let's bring in that chain. So what I'm going to do is I'm going to start by bringing in a curve. So shift bring in a pesar curve. Let's actually get rid of this part here, delete and vertices. So we should end up with just this part here. I'm going to bring it in them. And then what I'm going to do is I'm going to bring it over here and just set it near enough. Right where I want my chain to begin. Something like that, I'm going to press one as well and just set it right in the middle for now, I need to move it a little bit. Of course. What I'm going to do is, I'm just going to set it there for now. All right. Now I'm going to do is. I'm just going to press and just bring it out a little bit. Now, you can see that it's actually going the wrong way. I'm making a hash of that. I don't know why it's done that. I'm going to actually, in fact, I think instead of doing that, what I'm going to do is I'm going to bring in not a bezier I'll bring in a path. It's going to make it easier. If I come to path this one here, process. Now that I'll make it much much easier to begin with. So we'll do it that way instead. So let's pull it over. So Now let's change this into a curve. You'll notice as well with this, I've got a lot of vertices now, which makes it really, really nice. Let's come over to our geometry node. I'm not sure. Actually, if you can add in a geometry node from this part, I don't think you can. We need to go to geometry node new. Click the down arrow, and of course, we're going to bring in a chain. Let's press the dot bond to Zoom. We can see our chain on this is pretty small. Let's actually make this. First of all, we'll do the resolution. Then we'll do the link distance. I think it's this one, not that one. What we'll do is we'll make it bigger first. Chain radius, chain thickness. No, that's changed stretch. Let's do the chain where is it? Chain thickness? There we go. Chain thickness, and now the chain stretch. Bring it back to something like that. And finally, then the chain distance like so now you can see that about right? Do we think let's have a look at our little guy? I think it's still a little bit dinky, Shift space part to bring in my move. I'm just going to make sure before I do anything that, I'm really happy with this because I think at the moment, something like those chains, they aren't right, probably in real life, but I think for this, they need to be bigger. I'm going to put chain radius, turn it up, chain thickness, turn it up, chain distance, turn it up, and now you can see they're looking probably a lot better. Also, let's actually bring this in and see how it's going to fit first. I press and Z, Okay. Let's put that over there like so let's also then just grab this and just press G, just to bring in another one, and let's see how that's going to fit. So I'm going to press G. I'm going to press dot, and then I'm going to lift it up and put it into place. I'm just making sure that this actual chain fits. You can see it actually nearly does. I just need to make it a tiny bit bigger. I'm going to go back to my chain. Chain radius, make it a little bit bigger. Let's make the chain thickness a little bit bigger and let's pull out the distance so you can see, obviously, I'm going to have to create another one now. A I'm going to do is just move it over here, and then I'm going to come to the end of it. I'm going to press G s to give me another one, like so. All right. There we go. That's fitting absolutely fine. You can see now thick these needs to be. Now what I can do is I can bring it up. I can spin it round. I'll say 90. Let's put it into place. If I grab this now. Now it's just a case of fiddling around with it. If I press r and x, turn it around. The thing is the best thing about using actual curves is, you can make it look really realistic. If I grab this for instance, and try and just slot that into place so making sure that fits. You can see at the moment, doesn't really want to fit too well, I'm just going to play around with it a bit more. I think actually going to grab the whole thing and just press S. And then just put it in place like so, and that's fitting much better now as you can see, and then I'm going to do now, I'm just going to play around with these. Now normally when I'm doing this, I will first of all, be on modeling because that's going to make it a lot easier. Second of all, I will be using my proportional editing because it just makes it so much easier if I press G now, as you can see, it starts to move the whole thing as long as we've got actually, I'm not sure why it's not moving the whole thing. It should be moving the whole thing, but it's not. Let's super important medium point on. Is that going to move the whole thing? Let's see if we put connected only on that's still not moving the whole thing. I'm not actually sure. If I make this bigger, there we go. It was just because I didn't have it out far enough. Let's move it into place now let's have it bending around here, so if I bring this back and now you can see just how easy that was. Now the thing is, I think this is a little bit too long at the moment. I also think I've pulled it a little bit too far out there. So what I can do now is I can just basically come in, delete vertices and now I can actually rotate and bring this round to something like here. So if I rotate on the x, for instance, like so, G, and bring it back, and now I just want to make sure that that actually fits. So we can see at the moment, I need to move them all. Like so, and then I need to pull this out a little bit. So I press G, get another one, and now I can fit it into place like so. All right. That part I'm mapping with, and now I just need to bring in this to the other side. All I'm going to do is shift, duplicate it, bring it over to the other side. And now I just want to make it a little bit different. I'm just going to grab it. I'm going to press G, so you can see just how much flexibility you've really got with this now, and there we go. All right. Let's bring in this then, and what we'll do is we'll spin it around. 90, 90. And you can see that we need to make these probably one longer, I'll pull it out at least, so if I come back to this, or I can spin this round the guess, we could do it that way. If I come back, I'll just drop this, spin it round, pull it up. Then do I want to now rotate this or do I want my chain to actually just come a little bit longer. If I grab this, in other words, press G, bring it in, pull it down, that's not going to work a thing. So if I press G now a lot. Yeah, it's pulling from the opposite end, so you can see it's pulling from there. Instead of doing that, just press, and I think we're still pulling from the opposite end and that's not something I want. I'm just going to go back and instead of doing that, I'm going to rotate this on the Z, if I can. Not going to let me do it that way. I think I'm just going to have to rotate them both. Let's see if I can rotate on the on the z. It's rotating on the Z's having a bit of trouble with on the y. Let's just pull it up like that. I think actually that's going to work as long as I've got this bit into place. Now let's grab the whole thing, pull it down. Let's grab this now and fit it into place. So if I spin this round now, so if I press Z and spin it round and then y. It's a little bit fiddly to get this in, but I can see were actually getting somewhere. So if I press G, and then spin it so Z. I'm thinking actually, I'm not happy with how that actually is actually. So instead, I'm going to do it. I'm just going to spin it a little bit, so. And what I'm going to do is, I'm just going to pull it up and put it into this one basically this one here. Pressing G like so. And then what I'll do is I'll just grab this and I'll convert it. Object, convert to mesh, and now it can come in L delete vertices There we go. Dad's looking a lot better. All right. I'm happy with that. Now, let's put this side over this side. Now again, as I said, with these, if you want to make them smaller, you can do. I wanted them quite chunky on mine, but you're welcome to make your smaller. Because I imagine this guy, although he's the right size and things like that, it's not actually chunky enough, you know, like in World of Warcraft or even ESO for that matter. The people in there, they're a little bit chunky, a little bit, really big hands and writs. So imagine that. I'm going to press S D. I'm going to bring it over now to the side, I'm going to press z I'm going to do is fit this one in as well. So I'm going to press G. I'm going to do it pretty much I've just done that one. I'm going to put it into here and just slot it in, like so bring it down. And there we go. I'm also going to rotate this. Y rotate it, and then just move it to the side again, bring it up. As I say, it is a little bit tiddly but honestly, it's such a nice way of actually working this. All right. Let's come back to our chain then and then before I finish, I'll just press shift D, and I'll bring this one down because I'd like to use this rather than creating a whole new one. And then finally, what I'll do is I'll look you can see, I've got a little bit chain here. I'm going to come up, I'm going to go to object convert to mesh, grab this one L and delete. There we go. Should be left with something like that. That's looking pretty nice. Now, let's do the leg parts. I'm thinking actually, maybe they're a little bit too big. I'll give it. They're a little bit too big. Let's come up on individual origins. Let's make them a little bit smaller and put them back into place. I'm thinking, maybe something like that. Look a little bit too big. Let's put them into place now. Let's put this one into place. Let's also rotate this on the X. Like so, they look much, much better like that. All right. So the next one, let's bring this into place first, so I'm going to pull it out. And I'm going to pull it into it wants to look as though it's actually hanging on there like so, and then we can mess around with this part. If I pull this to the side. Still being careful, that it's actually stuck on there. Yeah, something like that. I think's going to be fine. Actually, could we move it there? Yeah. I think that's actually going to look better, like that. All right. Now, let's grab this one and let's press shift, bring it down. Let's bring it out a little. Again, we've got the same problem. On this one, it needs to come down to here because these shackles need to be all the way down here as you can see. This needs to be resting on here, like so. Then, sorry, R x pull it back a bit. This chain actually needs to come down to here. Very important on this part actually. Let's just press and bring it down. Then what I'll do is I'll bring it actually down with this point here, you see this one here, I'm going to bring this down to here. Bringing to this point. There we go in there, locking in like that. Now I just want to make sure that this it is going to be right. If I bring this back like so and then bring it up, we should be able to bring that into place now, bringing them over, you can see I'm having a few problems there again. If you having problems like that, don't worry because what we'll do is we'll just fix it like this. Grab it all shift bring it over. We're just going to get around actually fixing that. In fact, while I've got it, instead of just bringing that over grab both of them. Shift D, bring them both over. Okay. And then on the next lesson, what we'll do is we'll get these other parts in, put the bob on, and basically, that is this part. Don't accept the textures, of course. All right, everyone. So I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 77. Texturing the X Stocks Prop: Welcome back, everyone to Blender and Engine becoming a dungeon prop artist, and this is where we left it off. All right, first of all, let's sort this one out first. At the moment, you can see we've got this. What I'm going to do is I'm going to actually make sure first of all, that you can see, I can actually do a little bit of something with the link distance, so I can actually turn it this way as you can see and pull it so now you can see that I can probably get away with that. Let's see now if I can bring this down a little bit, if it will let me let's press g. And there we go. That is the best way of doing it. And now I can do with this one at least I can come in, object, convert mesh. As long as you don't turn that down too far, you should be okay. L delete versus so then I'm just going to now just move this a little bit, so I've got port on, going to press G. L. There we go. You can see that also with proportion it's on connected on the on. Means I just move that chain and that sometimes makes it a little bit easier. All right. Now, let's come to this one and what we're going to do is we're just going to move this, so it looks a little bit different to the other one. I've got my first link in, I'm going to try and get this second link in, so you can see it's nearly in there. Let's just change the link distance L I think that's going to be that. I'll move that a little bit. Once I've actually got this connected. Everything else I'm happy with. So I'm just looking to look different from each other. Grab my and convert mesh, come in, delete this tus. Now let's think about this part, so I'm just going to grab this one here. I'm going to press G and just bring it out. Now, you can see that I probably need to grab both of these on this one, pressing G and bring them into the right place, like so. Yeah, I think that just looks to better like so. All right. Let's have a look. Let's now think every all these are joined. So we can basically join everything up now at this point, I think. What I'll do is I'll just press B with a box, grab one of them, press B. Control J, join it all together. All right. Let's press one and let's just bring it up a little bit off the floor, like so. Then what I'll do is I'll bring in now another cube, mesh, bring in a cube. And then S, bring it over seven over the top. Z, let's have a look at wire frame, so we can see that this is where it comes down to. I think that might not actually help, but we'll have a look. Let's press S. Let's press Z, go back to solid and now let's have a look at that. All right. S and Z, bring it down. And actually, that is round about the right size as you can see. Let me just pull up my reference. Yeah, I can see that the wood comes out from here to here. Let's press S and y, pull it out, and let's also make sure that's stick eno because I can see that it probably needs to come over a little bit like so. All right. Now, the other thing is I'm making sure. I need to make sure that this is on the ground plane, which is there, and now I'll grab the top of it in face lex and press three, or just click on it and pull it up with our proportion editing on. All right. Now, let's just mirror it over the other side. So control all transforms, and let's come to mirror. Over the other side. Now finally, the last thing is that I did forget about is I just need to grab all of this. Separate it off just for 1 second, and then I'll just join this and this Control J. That means then we've got joined up is all of this. What I'm going to do is control A all transforms, right click ogen geometry. Add modify, bring in a bevel, bring it all the way down one, and I think I need to bring it down even further, so 0.5. That's perfect. Control and now join it all together with control J. All right, G, let's have up. Make sure this is on. I'm just looking around now, and I think that looks really nice. Now, let's bring in my bolts or the final thing, shift, bring in some bolts. I'll do the bottom one first, so I'm going to press seven to go over the top. I'm going to press S to make them smaller. We want them quite chunky. They're going to be holding someone who's trying to get out of this. We need to hold them into the ground. I'm going to put the seven, shift. Then what we'll do is we'll make these four have a look to see the size of them. Shift then we'll decide to move them over the other side. Let's have a look at those double tap the eight. Maybe they are a little bit too big. We're just going to grab them all, put it onto individual origins, press the S born and they look actually better. I also might actually press sons and just pull them out a little bit like, I think that looks better like that. All right. Control J join ship Bring it over to this one. Join them all together now with Control J and then just grab one of them. L, and then shift D, and you're going to bring it up. You're going to press P selection. Rotate it round, so grab one of them, RX 90, you can see that it's coming from there. I just reset your origin to geometry and then RX 90 press one. Let's press S set. Will that make it look any bad? Don't think actually, so we'll keep them round and all I want to do now is just put them You don't have to get this so accurate because they've just hammered them in basically, something like that, and then shift D, bring it down. I'm just going to move it over a little bit, so it's a little bit uneven and then shift D, bring it up. Now, let's join everything together. I'm going to grab all of these, join them together with these control J and there we go. That is the actual X stocks actually done I didn't bring these back far enough. Let's bring them back a little bit far. There we go. Okay. All right. That looks really cool. Now, let's come in and let's think about now bringing in some materials. We'll bring in all our materials actually together. I'm just going to look on my materials because I brought pretty much all of them in now. It's the lever that I'm actually need to look at because I know that I need some lever on them. Let you blend file load up as I say, it's got a lot of materials in there now, so it will take a little bit time to load. We've got this lever here. I think we have this lever and this level. The lever I'm going to use probably going to be Let's probably lever worn leather straps. Probably this one here, I will use them. Leather straps and we also need the metal. T one, that's treasure. We've got this one, silver basic and we've got these three. All right. I know what I'm going to use. You can see we've already got some materials on here. Albeit, they're not very good. We need. We need wood. I'm actually wondering. Wood stylized old, we've got everything in here except lever. What we want is leather and it's going to be the one that says leather straps like so. All right. Let's come in now and grab all of these. We'll do this one first. I'm going to pressure Smart UV project. Okay. I'm also going to make sure that it's all on stylized wood, and I'm also actually I should do these as well. So I'm going to press you. Smart UV project. Now I'm going to do is I'm just going to spin all of these around. A 90, spin them around. Press the dot born, see how they're looking, and now I'm just looking to make sure that everything's going in the correct way. Actually, everything for me at least is going perfectly right. That's really nice. All of those are going right, so what I can do now is I can actually grab them, H to hide them out of the way and focus on the next one. What I'm going to do now is I'm going to call two. You see these here, the one problem I've caused myself is because I did them while they're all joined up. I need these aren't going to be leather. These are going to be metal. I'm going to do these first. I'm going to come in and I'm going to grab all of these like so, and I'll do those first just to get them out of the way. Now I've grab them. What I'll do is I'll come over and pressure you tomar reproject, and then I'll go over to my material on dark click a sign, and then there those done, as you can see, so now I can hide those out of the way. Let's do the bolts, get those out of the way. So L L and then the bottom bools. I'm just wondering there they are hidden away in there. All right. The the bows, and I'm going to put these on old. I'm just going to make sure that they're all already on it, should be anyway so. I'm also going to come in to these little straps. I think what I'll do is I'll also put those on the same. Grab all of these now and come in. Grab these little straps. Buckles and then prop on a sign, pressure you. Smart you reproject. Then we go, that's looking perfect. And then what we'll do is I'll hide those out of the way. All right. On the next lesson, we'll get this finished off. We'll get it named, we'll get it in our asset manager, and then finally we can move on to the next part, which probably I'm thinking is going to be our tortures. I think we should get on with our tortures after that. Something a little bit different. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 78. Starting our Torch Models: Welcome back to everyone to Blender and Engine becoming a Jonjon prop artist, and this is where we left the. All right. Let's come in then and do our chain. The chain should be the same as the actual buckles and things like that. I should have guess I've done those at the same time. But not to worry, let's do them now. I'm just going to go in. Grabbing all of these. Then project, click Okay, and an old click a sign. There we go. There's our chain. Now I can do is I can just hide those out of the way. Now finally, we've got the problem of these. Now, I'm thinking, the easiest way of doing this is probably can I come in shift and click? Yes, I can. That's going to make it a little bit easier for me. Just going to be a pain just getting in there. What I'm trying to do is, I'm just trying to grab them going all the way around there because you probably already guessed what we're going to do is, we're going to mark some actual sams in there. And then that'll make it easy for us to actually unwrap these, you can see it didn't actually take too long. You can grab that one. I'm going to do is right click and mark scene, and now she'll be able to come in with face leg and grab all of these up to that, which makes it really easy as you can see, like so. I'm going to press you. Smart UV project, click. Dark click a sign, and there we go. And now let's just hide those out the way. Finally, now we can just grab everything, Smart UV project, click, lever straps, click a sign tab Okay. And there you go. Pretty much done. Now, we could bring in some more decals and things like that, but I think actually adding more decals on, you already know how to do that, so you can add your decals on if you want to. What I'm saying is that it's just going to add a ton of extra length to the court, so I don't actually think it's worth it. I don't actually think you're going to be getting anything out of it. So I think at this stage, going to add some decals on if you want to add some blood and things like that. Just make sure when you're doing things like that, though, that you focus on where the actual blood would be. For instance, Probably not going to be a lot of blood on here apart from where the actual wrist grips are and where the legs are, where they're digging in. If you've seen game of thrones, you'll know that they tortured them by putting a clamp over their foot down here, maybe something around there. But like the middle part of it, you're probably not going to get a lot on there. Just be very careful when you actually putting it decals on. Like Rust, really think about where it's actually going to be and things like that. All right. Let's come and name this. I'll call it X stocks. I'm actually going to leave it in the stops one because I think that's where it should go. Then going to right click and before I do that actually I'll press control all transforms, set origin to geometry, and now I'll do is right click and I'll mark as asset. That's looking pretty nice. Let's put this asset then where I want it to go. I'm thinking should I put it I'm thinking one, we're going to put in the front of there. I'm going to put it over here, and then we can still see it for our actual render. Something like that. Okay. Yeah, that that looks fine there. And then I would just give it a quick check just to put it into place. I'm going to come to A. I'm going to pull my x in and drop that into my props. Now, you will notice because I actually reloaded this file. When I go to all now, it's actually showed me what is not actually put in the right place. Now if I can grab these two, I can drop those into my props. I can also then come to my materials and I can drop those into my materials. You can see now what that's done, so it's made it really easy for my pots. Now, the other thing you can see is I've got some that aren't actually in here even though they're in here. The reason for that is because I've not actually changed the preferences on the file paths. I just need to reload this basically just to get them more lin. If you ever en problems like that, just redo your actual blend file and then you should be actually fine and ready to go. And also the reason could be most of the time is that you've actually got it actually typed in here. So close that down, you'll see everything comes back. So I was actually panicking a little bit. I did actually went and checked why that was, and then I realized, yeah you've done that again. Okay, so that sometimes happens. Now, let's go back to modeling. I'm going to actually bring in now a new reference. We're going to bring in our torture someone come to my references. And we're going to open it up and the one one is torches. This one here. So let's open it up. Let's put that down a minute and bring it over and you can see that this is what we're trying to do. So some new skills, you're going to learn here. First of all, you're going to learn about how to create this kind of a ray system here. So that's going to be really nice to create this nice ornate torch. We're also going to learn a little bit more about emission, basically, because we need some emission on here. All right. So let's put that over the left hand side. And then what we're going to do is now I'm going to put again my cursor to the sensors. So cursor two world origin. So cursor world origin. And let's start with an actual I think actually, we'll stop. With a cylinder. I think that's the best way to go with it. Shift A, let's bring in a mesh and cylinder. Let's put it onto 20 CMs on 32, and that is simply because actually restarted my blender. Let's press S and bring it to the right size, first of all. If we're looking at a torch, you can imagine that these torches, they're going to be quite big and they're going to be quite heavy basically because you can imagine this guy again. He needs to be a little bit more b I think. Let's come in with base select. We'll grab this base. We'll press control all transforms. Right click origins geometry. And then what we want to do is grab this phase, press Control B, and I'm just going to round it off now by turning off segments like so. You can see already we've got a nice actual size for our torch. Let's press one now, bring it down, and then let's press S and bring it in. Finally, now, let's press Control, bring in a few edge loops like left click, right click. Now all I want to do is just grab this center one, and come with proportional editing and press the Spor, pull it out and just bring it in just a little bit, when we get that nice slow for our torch now. Now, if I put this in his hand, let's see if this is the right size. So I'm going to put this in his hand and you can see, it's about right actually. It's probably a little bit too big, let's make it just a tiny bit smaller, and I think that is about the right size now, something like that. All right. So now we've got our scaling done. Now we can actually start work. So if we come down to the bottom of it, grab the bottom and we're going to round this off again like we did with the top, so we're going to press control B, round it off, like so. All right. That's pretty much the basis of our torch done. Now, we need something to hold it when you put it into something like you'll see on here. We've got this little bit and what it does is it holds the torch in when you drop it in here, and then pull it out, you just push it up and then you can actually take it out. That's that's there for. Let's put that in first. All I'm going to do is I'm going to co I'm going to grab probably I'm thinking probably this one here. We'll use that one, I'll do is I'll grab this slick Control B. Let's get rid of these down to one. The other thing is on the one I made the original. This is a little bit too dinky, let's have it quite big like this one. T terns, bring it out without proportion. A S, bring it out. Let's have a lot of that size. That looks actually a bit bare. Make sure offset even is on, and there we go. Now, that's looking pretty nice. Now we need to do is we need to come up to the actual torch part. This needs to be uneven as possible. What I'm going to do is I'm going to grab this one going around here. I'm going to put proportional editing on, so click it on. I'm also going to put it on random. And then what I'm going to do is I'm going to pull it out now. You'll see as I pull this bit out, it's going to randomize it a little bit, and then I'm going to grab this one and pull it up a little bit. So and then one I'm going to do now I'm going to probably pull out this end a little bit more. I'll pull it in, doesn't really matter which one. Now you can say, I need another edge loop, so control bring it up. Another one, control bring it up, and now let's bring this one out. S bring it out. Now the reason I'm doing that is because at the top of these torches, this is, I think it's called bird lap or something like that. Basically what it is is it's basically cloth or something where you use that, you soak oil and that's what actually keeps this flame actually going. That's why I'm actually doing that. Now, the one thing is probably need to bring out this a little bit further on this part here. I'll just grab all of this and pull it out, so I think that then looks about right. We are going to put some burlap on it as well, and also we'll then put the flame around here. Now the thing as well as with the flame is, you want the flame to be come in from around here and going in and out in and out. That's also important. What I want to do, though, first, I want to get rid of this roundness on here. I'm going to do is I'm going to press and bring it in. And then bring it up a little bit. Now you can see that's going to look a lot better. Now, the other thing is, I think I'm probably going to want to smooth that off a little bit. I'm going to grab it all, come to vertex, go to smooth verses. Just sove it off a little bit, so it looks a little bit better. Then finally, let's level this top of it off as well. I can come in, grab this face, press control B. And try and level that off a little bit. Pressing not with. There we go, and then just bring up this a little bit. There you go, that's going to look a lot lot better now like that. Okay, now we've got basically this. What we want to do now is just make a cut around here. All of the new is just going to go in. With my it. And the reason I'm cutting it is because I want to basically have some flame coming over, you know, down and up and things like that. So I'm just going to go round and just keep going round and just cut it, you know, going in, coming out, like so showing a bit of the burlap and a bit of the flame is what I basically want to do here. So I just going to take the time. To go round. Remember, you can use this torch over and over again. So you might as well take your time with this and get it right. Also, remember, you can use the control key just to make sure it's not actually magnetized to any parts that you don't want it to. I'm just going to bring it round back to that. Press the end to b. Unfortunately, as well, it's not actually Mark highlighted it for, so I'm just going to go round selecting it all then I'm going to do is going to on the right click mark. And that now brings us to the end of this lesson. So we've pretty much got everything set up. All we need to do now is, this is pretty much the torch near enough done. All we need to do now is make the more ornate torch and basically that's done. These are a couple of easy actual assets. Let's go to file. Let's save it out and I'll see you on the next and every one. Thanks a lot. Bye bye. 79. Creating Ornate Models with Curves: Welcome back, everyone to Blender and reagent, becoming a dungeon prop artist. So we've got our first actual touch. Let's shade smooth. Let's bring in Auto smooth. Let's put autos move on. Let's turn it up a little bit. I'm just wondering if we can get that smoothed off. It could be the case where we might need to subdivide it in some way, maybe because it is a little bit hard when we put it at 30, something like that. It does need a smooth off. What I'm going to do is I'm just going to come in now. I'm going to grab both of these edges that are causing problems. I want to press control bevel them off. There we go 30 degrees 30 degree angle. You can see it's looking better. You can see we still have a few issues. I don't really want those. I'm going to do is I'm going to press and that will take me up then up to that. Control plus, control plus, and then I'll just come in vertex and just smooth vertices like Let's just make sure that we're turning it down. I'm just trying to get rid of that. If a press tab now you can see nearly enough. These are the two edges I want to do. Again, I'm going to come to vertex smooth verses like so, turn it down and see I need to bring it all the way down to there, like so, and you can see we still got that lumpiness on there, and that's exactly what I want. Something like that looks great. All right. Now let's think about actually creating the ornate one. Press shift, bring it out here. Then what I want to do is I want to have basically one that comes around. So a cylinder coming around here, one on here and one on the top here. Let's start with though. So I'm going to press shift S, Custer selected shift day. Let's bring in a cylinder and I'm going to keep it on 20. That's going to be absolutely fine. We'll use, we'll do it the easy way now we've actually built up our workflow and things like that. Let's bring it down first to where it's going to go. I should come to something like that. I think That is round about the right thickness as well, so I'm happy with that. What I'll do now is I'll come in, grab both of these, press the i bonds to where I want them to go. Let's say something like that, and then just come to edge loops and come to bridge and just bridge those in, makes it really, really easy. Now the next thing you want to do with this is you want to bring some chunks out of it. If I press shift H, Come back. And you can see the reason I'm doing this like this now is because we're at a point where we can really just start, as I say, speeding up that way flow and really getting these things nailed down. So I'm going to press tab control A all transforms right click Set g into geometry, and now you're going to do is just press, and then you're going to press to alterns and just bring those out a little bit. And now you'll see if I press Altag that is where you taught should actually sit into. All right, let's finish this off now with just a couple of bumps on the top and bomb. Control two In fact, we won't do it that way, we'll just do control, left click right click Control, left click right click. Grab the top one, shift click Control B, bring it out, like so, and then finally, enter sensed, pull these up. They're not coming up. Make sure you're on medium point. Sons pull them up like so, and there we go. That finishes that part up. All right, really happy with that part. Now, let's bring in a couple more, and these are just going to be the simple ones. I think uh the first thing is Yeah, I think, probably we'll bring them in. I'm just wondering if it's easier to bring in the side thing first, bring it up and out and then put the other parts on. Maybe it is, maybe it is. We'll do that first. So what I'll do is I've got my cursor here. I'll press shift A, bring in a plane, rotate it around so RX 90, and I'll work off there. I now press shift A, bring in a curve, be press tab on my A to grab everything, delete vertices, and now you're going to do is come over to our Over here, make sure if you restart blender that your tool is still on surface, which it should be. Now you're going to do is draw in these actual ornate parts. We can see that I need to bring it from probably here, bring it round, bring it up. Then finally, bring it out. So I'm thinking that that's probably not high enough. What I'll do is I'll just come in, I'll grab this one. Because I'm facing straight on, as you know, I can just press G and pull it out like so. Now, the other thing is I'm not happy with straight these actually are. I'm going to grab both of these, right click, subdivide, and just bring in another one here. Then I'm just going to pull it out like so. Then I'm also going to grab both of these, pull them in, like so. Then finally, this one here, I think I'll rotate it just so I can get or grab it here. And then I might bring in one more. If I bring in one more, subdivide, bring down this one, G. I think that is probably going to look a little bit better. Bring this across now, just to straighten them up. Now what you can do is the easiest way is just delete this out of the way. Delete vertices, and now you can see it goes up pretty straight, and now fine, we can just bring it over. That might be about right. We'll check it as we actually pull them into place. But that's what we've got at the moment. Now, let's press tab. Let's come over then and bring out our true. You can see it's going the wrong way. All I'm going to do is I'm going to press tab, A to grab everything, shift end, spin everything around, and now they're all going in the actual right way that I want them. Now finally, let's bring in our subdivision, so I'd modifier subdivision, solidify. Let's bring that down. First of all, let's shade it flat, and there we go. Now we can actually see what we're doing. Now, let's bring out this plane first of all, get rid of it. We don't need it, and let's go over the top. We've got a nice line that we can near enough follow here, we're going to bring out the thickness probably something like that around Mt thickness, I think. Yeah. Something like that. The one thing is, I think that I should bring out another one on top of here and then turn it around. Five press, like so and then just rotate it. G rotate it round, grab them both, G rotate them, rotate them, and then, something like that. Something like that, and I'll bring it then. Probably, I'm going to bring it up a thing. Yeah, probably up to here, and then I'll grab this one and I'll rotate this. I'm basically just fiddling around with it now, getting it to be how I actually want it. G and G maybe something like that. I'm just wondering if this is too big now, probably, so I'm going to grab both of those, bring it back into place. Don't be scared of messing around with this and playing around with it a little bit. Let's bring it back in a little bit more straight. Thinking that I need to straighten that up a little bit like so. And I also need to bring them out. I need to bring them out a little bit like so. And also, I would say that they're a little bit too thick. So let's go back to our ex we'll just bring that back. Just a tad and that then is looking a lot better as you can see. All right. Now, I'm actually going to, I think, convert this. In fact, I will bring this into here because it should be rotated round into there. I'm going to press one, rotate it. G, make sure you do press one, if not, you're going to have problems where it's bent, and that's not something you want because then you're going to have to restart it again. And also the thing is just make sure that they're inland oil to do that is, go back to modifier. Bring out the offset, put it on 0.5 or something to start with, and then you can move it slowly into place. So now, Okay. I bring this into place like so. All right. Finally, then I want to bring down the amount of resolution, bring it down. To five, maybe, something like that. You don't want to high resolution going the other way anyway. So something like that looks fine. And now just work on whether you're happy with how this actually is. Remember, you're going to have 1 bar round here, 1 bar going round here. So remember that as you actually build it out. So you might in other words, another one in here. So right click, subdivide. And then just grab this one, press one again. G, and then you might just want to bring it out a little bit, bring in just playing around with it basically is what I'm saying, something like that. Like that. Maybe I want to, you know, round here and sweeping sweeping round there. So more like this, I guess, could say, yeah, more like this. Like that, I think. All right. I could play around with that all day. I think that's going to be fine for now. Just get those in the perfect one that you want. I'm thinking that looks pretty nice. All right. Enough of that, let's come up to object and we'll convert it, so convert mesh. Then what we'll do is we'll get rid of probably this part here. So I'm just going to come in, grab this control control plus, and then delete faces, and now I'll just fill in that face. So ship fill in my face. And then all I'm going to do is I'm just going to squeeze it down with proportional connect it only off. Put it on smooth and then press the S board, squeeze it down like so. I'm also probably, I think actually it's going to be okay, but now is the time when you should be straining up any parts that you're not actually happy with. So you might want to straighten up this a little bit, like so. You might not be so happy with this. Just make sure you straight more because the next part is going to be putting it around this actual torch. So, I think that I think I'm happy with that. I don't think there's a lot else I need to do with it. All right, everyone. I'm happy with that. I'm just going to file, save it out, and I'll see on the next one. Thanks a lot. Bye bye. 80. Finishing the Torch Models: Welcome back, everyone to Blender and Unreal Engine becoming a dungeon propie and this is where we left off. All right. Now we've got this. Let's actually array this around. The first thing you want to do is you want to bring in a empty, plain empty as we spoke about a lot earlier on in the course. Now I want to do is we want to use that array to go around. So I'm going to come add moifier and I'm going to bring in a array. And basically, I'm going to set this to object offset turn off relativefset, and then I'm going to turn this up something like five or six to start with, and then I'm going to put the object offset as my actual T. And of course, nothing happens. But when I press seven, press sd, you'll see now that they actually go round. So now what you're just trying to work out is how many you want on here going round. You can see that they're not lined up well at all. We need it on something like 40, and we also need it going all the way around. So again, get your calculator, do 360/40, and then that's going to tell you how many you need. Let's open up our calculator. And then they will do 360/40 equals nine. Let's put it onto nine. I'm going to go back to my array. Let's put it on to nine. Like so, and there we go. Now it's perfectly around and you can see jaws down nice that actually looks. All right. Finally, then just apply that control, apply that, get rid of you empty. Now let's bring in the other bars that are going to go around this and hold it all together. All I'm going to do is I'm going to press Shift A. I'm going to bring in another cylinder, so another cylinder, I'm going to make it smaller and basically I want this to be ro the outside of here, S and just to give it some strength. If I pull this down, let's say to round about here, let's pull it out a little bit. Let's make it a little bit thinner. Something like that. And then finally, what we'll do is we'll grab the top. And the bott. Same as what we did with the bottom one, and we're just going to press and bring it into whereabouts it needs to go, which is just to you, so you can see that the jaws going to be in the edges there, and then all I'm going to do is right click gridge that's what you're going to end up with. Now, you can see that we do want this top part going in a little bit. Let's actually do that now. A shift click. Let's press the S b without portion noting on. Just bring it in very slightly. Finally, as well, maybe bring out the actual you can see that they don't quite line up on there. That is That's a bit of a pain. Instead, what we're going to have to do because I want to make this very nice, shift and show you just how far you can actually push it as well. Then what we're going to do is 90, just to spin it around, press the S born then what I'm going to do now is, I'm just going to grab one of them, so I'll grab this one on the side because that'll be the easiest. I'm going to press shift, I'm going to press Shift S. Cursor to selective. I'm going to grab my bowl, I'm going to press Shift S and selections cursor. Then I'm going to press S and I'm going to bring it into here now into here. Like so. I'm going to drop it down, and this is where basically one my bowl in holding this together. Something like that, I think, have a look, might need to bring it out a little bit. But yeah, that looks pretty nice. Now I've got that. What I want to do is I got rid of my empty. In case you got rid of the empty, grab your cylinder, press shift cursor selected Shift A, bring in another empty, plain axis empty. Grab b Control A or transforms, right clicks origin to three D cursor. Now finally, let's just bring in another array. Let's put it up to nine because we know that's where it was on. Let's then put it on off object offset and click on empty once more. Then all we're going to do is spin this round. Spin it round, and what you're going to do then is put this on 40, and then they're going to line up perfectly in line with each of these, hopefully. Yeah. There we go. They're lining up in line with them. You can just see how much that actually adds. Now, I'm just going to bring this up now, so I'm going to bring this and this up, so I'm going to press shift D. Bring them up. To this B and you can see what's happening in there. It's not actually doing it and that is because of the empty. Rather than do it that way. Let's just delete those. Then what we'll do is we'll actually apply that first. Come over, apply your rate, get rid of the empty, and now you should be able to grab them both and then just press your D and bring them up to where you want them, which is something like that. You can also see that we might want these a little bit thinner on this top one. I think I will. I'm going to grab this son's head, bring it in a little bit, double tap the head. There we go. That looks really nice. All right. That's that done. Now, let's think about our bevels because it doesn't look right at the moment. Let's come in grabbing all of these grabbing this. Let's press Control J, right click shade smooth. Let's bring in our auto smooth. Now finally, you can see that I'm probably going to have to turn it up a bit and belly off. Let's press Control A transforms, right click. Origin geometry. Adding a bevel. Let's see what that looks like. There we go, now you can see, wow, that looks really cool. Let's put this on 0.5 or not 0.3 0.3. Not really bringing it down. No point no one. Yeah. Just like that thing is going to make it look much, much better. All right. So I'm really happy with that. Now I can apply that control. And now find that I can just join it all together now. Control J. Now finally, let's just check what it's on 30 degrees, so that's absolutely fine. So I can join this and this together, control J, and there we go. We've got two torches now, one on A and one, which is just your standard torch. Let's come in now and texture them as well. Now, we could texture this one then bring it over to here. We could do it that way as well. I think, we've got it pretty easy anyway. Let's come in, and what we'll do is we'll make a another burlap. I think from here, we're going to have the flame and from here, we're going to have the burlap. I'm going to right click. And mark sin, and then I'm going to go to this one, and I'm going to shift right plate mark All right. Now, let's do this one first because we'll be able to see exactly what we're doing there. The first thing, I need to bring in a couple of materials. I'm going to go to my materials panel. Let it load up, and then I'm just going to grab two of these, and I think we'll just bring in two of the materials. I'm just going to grab two of these, shift D, bring them out. Then all I'm going to do is I'm going to come now to my materials panel, grab this one, minus it off, grab this one, minus it off. Now, let's go to our textures. So if we open up our textures, which is here, you'll see that we've got dungeon and Dungeon charcoal. I'm not sure. I think this is the one. Let me just open this up. Yes, this is I'm not sure if that is our burlap, so we'll just have a up. The dungeon charcoal is definitely the one with the flame on. We know that. We've got that one that one's fine. I'm just going to check down lever straps level one. Silver, water wax, weapon iron wood course wood light, dungeon fabric flag. It's not that one. We've got two dungeon fabric flags have a Dungeon fabric flag. Yeah, they're both the same and I don't know why we've got two in there, but. Hey, hope. I'm thinking that the dungeon fabric is what we're going to use rather than making another one. We use that and then we'll use the charcol as well. Let's come to this one and we'll call it dgeon We'll just call it fabric like so, and then we'll come to this one and we'll click new and we'll call this charcoal. This, by the way, is a really, really nice texture. We'll do the charcoal first. I'm going to do is I'm going to come to my principled control shift. Of course, with the new blender, again, as I've said, it does everything for you, which is really nice. If I just go to this one, It brings them all in with the node wrangler. It makes things really easy. Let's go to our charcoal. What I mean is it brings everything in except the ambient inclusion, unfortunately. I think in a later build actually will do that. But for now, it brings everything else in including the apacity including the emissive and everything. So really, really nice. All right, we've brought that in. Let's press dot. Let's put it onto our render, and then we'll have a load at our emission. And there we go. Now, let's double tap the eight and let's come now and we can change our emission strength down here. If I change this up, there we go. We can see we've got a light coming off it and it looks fantastic straight out of the boat. I'm going to put this on something like 20 thing. Bear in mind, if you go too high, you're going to lose a lot of those details. So just don't say it too high. But I really don't think maybe we'll turn the strength of the normal. Let's turn it up to three. Just turn the strength of the normal a thing to three, and I think that's basically that do. Now, let's come to our fabric. I'm going to zoom out. I'm going to hit control shift and T. I'm going to go back and I'm going to find the fabric, which is this one here. I'm going to bring them all in open GL, not the direct X. There we go. There's our fabric. Yeah, that is our actual burlap, so that should be fine. All right. There are the materials in, so as simple as that. So now we need to do is we need to just go back to our actual torches, and what we'll do then on the next one is, we'll start getting these materials in. We'll name them, put them in arm asset manager, and that is the tortures done and the way. All right. I'm just going to save it out as we should do at the end of every lesson, and I'll see on the next on every on. Thanks a lot. Bye bye. 81. Creating Embers from Emission: Welcome back, everyone to Blender and Engine becoming a dungeon prop artist, and this is where we left. All right. Let's come to this one first, and we'll bring in a material. So we're going to look for fabric. Let's bring that one in. Then we'll also click the plus and we'll look for charcoal. We're also going to bring in the wood, the grainy wood. Wood, and we'll bring in is it course bring in the course wood. And we'll also bring in the dot metal, plus down arrow I do this one here. All right. Let's now grab the whole thing and we'll wrap it all together. Smart UV project, and we'll have a lock actually wraps because it might unwrap along here with the actual wood. So we'll just have to wait and see. Now, we've already got the fabric, as you can see, the fabrics already on there. Let's now come in with the charcoal. I'm going to add in our charcoal and there we go. Then what we'll do is we'll now come in to the wood. I'm going to grab all of these all the way. In fact, what I'll do is I'll assign that now, and I'm just going to look at what this looks like and then Iulate control plus going all the way up. Signing like so then I'm going to go round this control plus, and then I'm going to assign the iron dark. You can see it might actually work with this water, I might just need to turn over this. Instead, what I'm going to do is I'm going to come. And I'm going to grab all of this going down, right click marking just to make it easier for me to grab it. Then I'm going to press L. And finally, then I'm going to come in and go to UV layout, and I'm going to spin these round. So eight 90. I'm going to press dot to zoom in, and then I'm just going to check, see what that looks like. B because of how this wood is, it's actually made it really nice for me to actually create this because you can see that because it's got so much grain and things like that, you can't see any edges anywhere or anything like that. Now, the one thing I'm not happy about is this really needs to come out and look as though it's actually a you know, a little bit further out than where it is. So what I'm going to do is I'm going to grab this, I'm going to press, Altern and just bring it out. You can see I grab all of that and I don't want to do that. I want to come in and just grab this, alter and just bring it out. So there you go, you can see that looks much much better. And also, I want to then have this hanging down a little bit instead of like that. So I'm just going to grab all of this going around. I'm going to press S, pull it out. I want to press S, pull this bit out. I'm just making some final tweaks to this. You can see now it's looking much much better. And then I'm just going to start pulling these down. So if I come now and make sure I've got push editing on and basically, I'm just going to pull these down a little bit. So rather than think actually, I need to pull it down without proportional no. So maybe something like this, like this. Like this, pull it down a little bit further, and I'll just use this same torch for the other one as well. All right. That's looking a bit better. Now I'll do is I'll just come in and I'll bevel this off. Control, level it off. Now finally, let's come in and rewrap this. I'll just grab it all with press Control plus control plus Smart UV project, click, and then let's add fabric to it. There you go. I don't actually know how that happened on the top, we'll actually fix that as well. So I'm going to come in. And charcoal. There we go. We might need to unwrap that again. So I'll just re unwrap that so smart. Actually. Does that look better? Yes, it does. So we'll leave that as it is. I'm looking at my burlap, and I think I also need to pull up this part as well. I do the same thing. I'm just going to pull this up, pull this, pull this up just a little bit, like so. Then we'll just level this off as well. Shift click going all the way around. Just to finish this off, so it looks really nice like so, and then control B Bevel it off a little bit. Maybe maybe that's not enough, so I'll go back and you can see that the problem is, I've not actually grabbed it all, and that's causing problems. I'm just going to recheck now. All right. So now it should be back. Control B Bevel it off, and there we go. That's looking much better now. Happy with how that looks. Now, let's actually bring and put this in there as well. No point actually trying to make another one and doing all that work and things like that. What I might as well do is just grab this one. Just this one. So I'm going to press L with edge selecton. I'm going to press P selection, and then I'm just going to grab it. Control A, A transforms, right click, Sargon geometry. Shift S, cursor to select, then one want to do is going to leave that one out of the way. So let, grab this one. And then one want to do is control all transforms, right click. Sin geometry. It's going to pre right in the same place as the other one near enough, shift and selections cursor there we go. Now, all I want to do is just bring it up. Like so to where it needs to go, something like that, and then double tap the A and there we go. Now, let's think about these parts here. Pretty easy to do these parts because they're all pretty much the same. If I grab all these, we can see we've got a bolts in the way. Unfortunately, that just makes it a little bit harder. But I think if I come in and select this one, can I get away? Well, I'll select this one as well and then select and let's see if I can select all by perimeter. Yeah, it's not going to work on there. Instead, I'll actually, I'm just making this harder myself. So I'll do is I'll just grab all of this. Going all the way around. It's not going to take that long. Let's not make it more difficult the way it needs to be. There we go. And then while there is, I'll pressure. Smart UV project, click Okay, do click a sign. There we go. Really nice. Now, let's put this double tap the A. Let's check it out on our render, just to see what it looks like. And there you go, there is your actual torch with you, lab with stuck in the ornate torchhder and things like that. Now the thing is with the torch holder, it would have something down here that holds it against the wall, but I'm sure on this, you can pretty much create that as you want to all of them will be different as well because it depends where you're actually putting this. Some will be stuck in something at the bottom. Some will be held in the hand. So that's why we're not actually doing it on this course just showing that bit, but I'm sure by now, you've got the skills to actually go away and do that. All right. So now let's just put it onto material mode. I'm just going to grab the torch. Then what I'm going to do is I'm going to grab both of these now. Press Controj join them all together. Just make sure my Autos moovies on, which it is. Now we can go back to our modeling. Come to this one, and we'll just call a new collection and we'll call it torches. Torches then we'll go to this one. I'm going to press dot and that I'll call it torch. And then we'll call this one Nate torch or torch or like so, and then I'll just grab both of these, drag them, drop them into my torches, close my stocks of, close my torches up. Now finally, let's go over to our asset manager, and all I'm looking for now is my torches, so torch. They're not there because I didn't right click markers that. Now they're there. Let's drop those into our props and materials. Let's go to all. I'm going to close that I'm going to try I should have named them all materials. Actually, I would have made it so much easier. I'm just going to basically go down now, clicking all my materials with control click just to get them all in there now. I should do this at the end as well, but I just go down them now. I'm also not put those materials in, so you can see that I'm missing some materials. So what I'll do is I'm wondering if I can just go down all of these. No, I can't. Yeah, you can see the ones that aren't, so I'm just going to mark as I mark as I said. I'll do this at the end, actually clear I set there. Just to make sure that they're all in the right places. All right. So enough of that, let's actually go back to our modeling. Let's put these tortures in place. So I think, that'll do. I think Okay. Let's put them on the floor though, so they look there. Something like that. Slip them on the ground plane. Let's also lift that one for some reason, it's below the ground plane double tap a, there we go. All right. On the next one, I think what we're going to look at is probably going to be doing the bed next, so we'll get that one out ready. We're going to go to our references, and this is the bed. So as you see, it's got a lot of hay here, which will be focused on we'll be focusing on the pillar as well. And this bit here is pretty simple stuff that we've already done. We've got a chain in there, as you can see, pretty simple stuff. You will learn some new things to do with transparency. You'll also learn about how to create pillows quickly and easily. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 82. Modelling the Prison Bed: Okay. Welcome back, everyone to blending on your lengon becoming a dungeon partis. Now to become a prop artist, you're going to need to create pillows and things like that. Now, I wasn't really happy with this pillow. I mean, it looks a bit flat and square and things like that, but it looks okay, but I'm going to do a better job actually of the pillow this time, I want to show you exactly how to do that. Basically pull that reference over there. What you're going to do is you're going to set yours to weld origin, pressure day and let's make a Q. Now, the Q keep it the size it is. All you want to do is just press sensed and bring it down. So, something like that, just to give us a start in place. Then all you're going to do is you're going to press tab. You're going to press control, left click, right click, and it's important that we put an edge loop round here. Then what you're going to do is you're going to press Control. Left click, right click. Let's put this on something like 30, and then we'll do the same on the other side, so control. Let click, right click. Again, something like 30. Now we're going to do is we're going to come over to the right hand side, and we're going to click on our little physics tab here, and the one we're looking for is cloth simulator. Now, if we go down, all the way down, you'll see you have one that says field weights, and down here, we just want to set gravity down to zero. And the reason for that is we don't want this to drop down anywhere. All we want to do is just puff up. The way we're going to do that is we'll just come up to pressure. This one here and just put it on something like five, something like that. Now, if I press tab, you will see that this happens. Now if you can't see yours, just make sure you go over to your layout and then you'll be to see this happen. All you want to do then bring this down to zero, press the space bar, and there you go. There is your pillow. Now, obviously, we don't want to square pillow. So I'm not going to alter the scale. I'm not going to press S. I'm just going to go back down, and then all I'm going to do is press S and X and pull it out just to make it a long way instead of being a square pillow. So press tab again and there we go. Now, this is great because now we have something to actually work with. Now, all you need to do is just come to object, convert, mesh, and there you go. Now you've actually got a pillow to actually work with. Now, let's make it smaller. And let's actually think about it's supposed to be a straw pillow. So it's not going to be a nice fluffy pillow like that. So now we want to do is we want to come in with proportional editing and just grab some of the faces. And now what we want to do is really just squish it together and make it more of a flat pillow, like so, bring it in, bring it in, you know, make it really uncomfortable now. That's basically what the ama is. Just try not to, you know, bring it up too far, like so, like so. And then all I'm going to do, I'm going to grab each of these corners so I'm going to press control plus a few times. Then all I'm going to do is smooth these out. I'm going to come to vertex and where is it smooth vertices like this. I'm going to turn this up. I'm going to turn this more iterations so I can see again that kind of look we're actually going for. And then what I'm going to do is just work a little bit more bringing it in and flying it out. A little bit. Like so, making it look a little bit um py. And you can see the way I did that is I just went and did, you know, certain parts first to get to the point where I am here, and I can see dad's looking much much better as you can see. All right. Let's come in the bomb now. We'll go over the other side. Like so. So now we're trying to just make it much, much thinner. Like so. All right. So that's looking pretty nice. Now, the one thing, obviously, actually, might look okay. Let's say, there you go. That's actually looking really nice. I'm happy with the way it looks. I'm just going to probably just pull these in just a little bit like so, pull this in a little bit, like so. And then I'm going to work now and just making it even more thinner than what it is because it's a little bit too thick at the moment. Like so. And the way I'm doing it like this is I'm making it very lumpy and that's the way I actually want it. Like so. There you go. Now, that is looking really nice as an actual pillow. All right. So that's the actual pillow dump. Let's say about our work, and now we can actually start with our actual bed. The actual bed, we need to measure it. Now the thing is, it's not going to be that big the pillow. It's going to be quite tiny. So let's take off this. Let's put it down there. It's going to be really, really rough sleeping in this. It's a prison cell after all. Let's bring it down to where it's going to be the right height. Something like that is where you're going to get on. And now let's bring in a plane. Shift A bring in a plane. Let's press seven and bring it over to here. And let's press S and X and bring it in. And now we just want the right len. So something, something like that. Let's turn our guy around a minute. So x 90 doesn't matter which way around you're facing him. There you go, you can see that is going to be near enough the right sort of size. It's not going to be the right length anyway. You're not going to manage to get your feet on the end of this or anything like that. I think, something like that is going to be okay. Now, to turn your guy back the right way round, all you need to do is press Altar, and I'll just go quickly through that. Because you've reset the transformation. So if I press, actually it is facing the right way, so I don't want to turn him round, but what we'll do is, give you reset transformation. Control A transforms, click into geometry. Now what you can do is if I scale this guy down, so press S, to bring him back to the right size of when I reset my transformation. I'll just press alts and he'll bring him back. If I rotate him, I can press Altar, and if I press G and move them around, I can press Alt G, and that then we'll put him into the sense of the w. Unfortunately, it won't put him right where you had him before, but it will put him into the center of the w. So let's just go back and put him back where it was. So that's really handy to know. If you have a scale something as long as you reset the transformations, Blender will remember what actually the original scale was. So just something to know that. All right. Now, let's go into this and let's press control. Bring a few planks toward. Left click, right click. Let's actually right click and mark scene. And then we'll press control, bring in a few edge loops, and that's so we can get some roughness on here. Let's actually have this pillow out the wages for now and then let's come back to this part. Now, we're going to do what we always do, so we're going to just go down, split them all, like so, press y, G, and I'm sure the split, but we'll see. There we go. And now I want to do is just bring them together, so I'm just going to make sure that I'm on individual origins, press S and y, and just bring them in, like so. And now let's bring our random in Edge select and I'm going to press g, move them out, bring them out like so, and then bring them up. You notice I've made it quite big, which means that it enables me to do quite a lot at the same time now. Something like that. All right. Let's bring them out this way, so I'm going to make it a little bit smaller now do? No, I don't actually think I need to. So that's looking fantastic. All right. Now, let's go in, turn this off. A to grab everything, and let's bring them down. Bring them down, so they actually look like planks of wood, and there we go. So there is pretty much our bed near enough done. Now, let's create the rest of it because it's not actually done, of course, shift the two were selected. Shift A, let's bring in a e, and we'll just create the two planks that are going to go underneath. So one here. I'm going to press S and X, pull it out, and then S and pull it out this way. So it's supporting it. Now, let's press S and because it's way way too thick at the moment, it wouldn't be that thick. Let's put this one into place like so. Let's press three, maybe, so we can see where it needs to go. I'm going to pull it up into place. Then all I'm going to do is going to press shift and bring in another one. I just put that there. Basically, this is going to be there just to support these actual chains are going to go across. I'm going to put it out a little bit. So. All right. One more of the back then. So let's press Shift D. Bring it to the back. I'm going to rotate it round, so, y 90. Then what I'm going to do is I'm going to put this into place. It actually fits against it and then pull it out along here as well. Grab both of those, pull them out, and then grab the tops off here. Like, something like that, I'll put a few bolts in here. And of course, we'll do that next one. All right. Let's save that out. And then on the next one. We should actually get most of this bed actually finished. We've already got the chain set up, and we just need to bring in our hay, which is just a bit like actually adding in a detail same as we've done before. All right, everyone, so I hope you enjoyed that, and I'll say on the next one. Thanks a lot. Bye bye. 83. Adding Stability to the Bed: Welcome back, everyone to Blender, and oral engine becoming a dungeon props, and that's where we left it off. All right. So, let's put the bolt side going to go here and the bolt side going to go down there, and then we'll actually bring in our chain. Let's press shift and we'll bring in a cube, we'll make it smaller. So I'm going to pull it then to the back up here so you can see here. And also, I think, want to bring this forward a little bit, like so, and then I can bring this forward a little bit, like so, and then just bring it up to where it's going to go. Something like that. Let's then bring it back. And these don't want to be very ornate or anything like that. Something like that. And then what I'll do is I'll I'll do it a quick way. So what I'll do is I'll press shift. I'll press S and bring it down. I'll press to pull it out, like so, and then I'll just squish it in. S, y, squish it in. Maybe, pull it back a little bit, like so. Then what I'll do is I'll just grab both of the edges. I'll press tab. In fact, I'll have to split off first anyway, LP selection, tab control, all transforms plate gin geometry. Grab both of these. Press control B, bevel them in. Turn up the amount, like so. And then all I'll do is I'll grab the bot on the top, press the i born bring them in, right, clip and bridge. All right. There we go. Simple as that. Now, let's make them a little bit thinner. S and then what we'll do is we'll pull them down a little bit. I'll pretty much pull two bolts going in the top. I might just level off these ones as well. So just press control B. And turning, something like that thing looks pretty nice. Now, let's put the bottom ones in as well. So I'm going to press Shift S, Kursta selected Shift A, bring a e. The reason I've done that of course is then I can line them up together, so I can bring this down. To here, for instance, and now I know I need to move all of them across a little bit, so I can come to this one. S and, and then S like so we can put that in place like so. All right. Now we can use probably this. We can press sift ring it over, spin it around, so y 97 to go over the top. And let's just drop that in place. Here, like so. All right. That's looking pretty good. Now, let's bring in some chain. What I'm going to do to bring my chain, I'll just grab both of these things shift Sura selected, shift a curve, bring in a path. Make my path smaller. Then all I'm going to do is I'm going to press three. I can't really see anything with this path for the moment, but if I press, wire frame. Can I see? Yes, I can. I can see much pair there. There you go. Press control one, let's let's have my guy the way he is in the way a little bit, and now I can spin it round, so y, spin it around. And that looks right now what we can do is we can just bring in press go solid geometry nodes so click new down arrow chain, Zoom to it. Go back onto my modeling now because I don't need to be in my geometry node as we know, Okay. And now we'll just have to put it back onto object mode because we're working in layout at the moment. So we'll let it load. I'll press dot now. And then what I'll do is I'll just put this onto object mode. I'm going to press tab. Click on it. Come over to the right hand side, and now I should be able to bring these up like so. With this, I'm going to make them a little bit more rounded, as you can see, I'm probably going to have to make them either a lot bigger or a lot smaller. I think probably we'll go with the radius. Turn that up. Turn the distance up then. Just so the interlock, turn the thickness. Then we can turn that distance now up a little bit, this way. Now we can see that pretty much as you can see, we've got this one and this one with a bit of outliers, but the rest of the chain looks absolutely fine, pretty chunky and looking as though it's going to hold that bed in place. All right. I'm happy with that. All I need to do now is object, convert mesh. Come in. And delete those out of the way. Delete and there we go, as simple as that. Now you can see that this one here, Fenston a little bit. I'll just grab it portion it's in smooth and then just move it And a little bit where it needed to be. Okay, so there we go. Now, let's grab. All of these press Control J, like so. Then we'll want to do before Mover the side just want to join all of this together as well. Control J. Control transforms. Origins geometry, bring in a bevel, all the way down. Nor point no three, like so. Now let's do shapes move. Also let's move on. Now let's come to these parts as well, exactly the same thing. Control. All transforms clip, Origins geometry. Then all I'm going to do is shape smooth. Also move on. Bevel. Like so that's way way too low, so I'll just put it on too high, no 0.3, like so now I think that's still too high a thing. Let's try not 0.1. Yeah, something like that. I think it looks better. Something I think that looks actually fine. I'll apply that. I'll apply the bevel on the bed as well, and now I'll join the chain and this one together with Control J. Join them together, and then I'm just going to press seven shift and then just bring it over and put it in place on this one here. I didn't need to mirror. I'm just moving it in place like Press stage. There's this pillar, there's the bed. Now just to finish the bed off, let's just bring in some bolts. I'm going to make these a little bit different for the bed. I'm just going to grab this shift, bring it over. So then what I'm going to do is it's going to rotate it, so Ry 90 and then RZ hundred 80 just to spin it around. I'm going to press one, I think it is. No, it's not. It's control three and then S. Okay. Bring it into place like so. So I'm going to one probably three bolts, so one, more or less in the middle, which will be round about here. And then what I'm going to do is, I'm just going to pull this one out. I'm going to grab the edges. We're going to press enter, pull it out without portion ing on. S so then and x, pull it back. So, there we go. I think that's the kind of b. I also probably want to flatten this front of it. What I'm going to do is I'm just going to grab it, press control plus, and then just flatten it out by pressing S and X flat so and then just pull it back. Yeah. That looks bad. I think I'll have it like that. And then put that into place. And then I'm just going to press Shift D. Shift D, bring it over, like so. All right. So now we need just a smaller bolt on here, so I'll just grab this bolt again. Shift D. Bring it over. And then we're going to press y and -90, so y -90. Press one Control three is, isn't it? So let's press S and bring it up. And we're going to put just a couple of poles in here. S one there, bring it into place. Like so, and then I'll also make sure it's in which it is, and I'll press shift. Bring it over and then finally grab them both, control, and shift D. Bring it over. Like so. All right. So they're in place now as well. Now we can actually probably let's have a look at these shades move. I my shades move on? Yes, it is. We're not going to get which moving on these actually. Because of the fact, we use quite a low amount. I'd have to turn you pretty low, as you can see, to get away with that. We can do that. It's just the fact that you just need to make sure everything is shaded off shop, and that's what will cause issues. It's completely up to you if you want to do that. Now, you can shade everything off shop as I said, so you can grab all this and you can grab just of these and all of these basically shady shop or you could instead of that, Let's see if we can actually do that. What I'm going to do is, I'm just going to double tap the A. I'm going to go up to select and I'm going to select sharp edges, select sharp edges as you can see, that's not what I want, let's turn it up, and even there, look, I'm not actually getting my sharp edges on there. Let's split this off. Let's try another way. So I'm going to grab all of these, like so P selection. I'm going to grab them then tab and I'm going to try and select sharp edges the other way and see if You see, it won't grab the sharp edges, and the reason is because we've actually leveled them off now, which is kind of a pain. So we should have thought about that before. All right. So rather than mess around with that, let's just go back. I'm not going to worry too much about it. I look good anyway. So I'm just going to leave that as it is. So I'm just going to go all the way back and have my chain like so, and I'm going to put this on 30. So. And then what I'm going to do is, I'm just going to join it all up now, so I'm going to join all of this all together, press Control J, and this one as well. Just need to make sure actually before I do that that I've actually I'm just going to do another way. I'm just going to press B, grab everything, object, and then just come down, convert mesh, Control J. Join it all together, right click shapes move, and then just make sure my Auto moves on. Press G, just make sure all moves together and there we go. A we'll do then on the next lesson is we'll actually just bring in our decals, we'll get some textures on these things and things like that. We're probably going to have to shade it up a little bit smoother than where it is right now because you can see, it's a little bit out, like so, we're probably going to have to add some shops on this, which is a shame because I think that's the only way we're going to get away with it. So we'll do that on the next lesson anyway. I don't think of it too difficult, actually. All right, everyone. So I hope you enjoyed that, and I'll see you the next one. Thanks a lot. Bye bye. 84. Building up Straw Decals for Realism: Welcome back if you want to blend on real gone becoming a dungeon parist and this is where we left off. Now, what we'll do is we'll actually come in and we'll grab basically pretty much everything except the pillow. I'm actually wanting to grab it on there. The pillow and the chain. They're the only things we don't want to grab. I want to grab everything else. Maybe the bots. We'll check those in those in a minute. And then what I'm going to do is just going to right click. In fact I'm not going to right click because I'm in face lex, I'm going to press control, and I'm going to come down and mark shop. There we go. We can see sharpness back on everything now. Probably don't want to shop on all of these as you can see. Rather than all I need to do is just come in and shifting click. Same on this side. And then the same on this one and the same on this one. Then all I'm going to do is control, and I'll just clear shot. Let's see if we can clear it. I'm just wondering why it's not cleared it. So clear shot, control clear shot. There we go. All right. So now you can see they look at something better. You can see everything's now smoothed off correctly, and I'm just making sure I'm happy with it. Yeah, I think I am, actually, it looks really, really nice. All right. So that was easy to solve that problem out. I'm just looking at these, if I want those. Yeah, everything's done really nicely. All right. So now let's texture it, and then we can bring in our hay and things like that because actually, if you bring it in once you've texted it, it's really easy to see then what you need to do. So we've got all of the materials already. We don't need to create any more materials apart from the detail which we're going to do soon. Let's come to it and we'll go down to our materials. We've got wood stylized, on old Okay. We just need to add in a fabric. So let's add in a fabric like so. I think that's pretty much looking on my reference. That's pretty much everything. Let's put it on material then. Okay. Let it load up and then what we'll do is we'll focus on whichever wants it. Probably going to be the wood I imagine. Here we go. Now, let's come in and we'll grab all of these then because these are all the wood. We're going to grab all of these in edge lex, all the way down like Smart UV project, click, and then we're just going to go to UV edit in 90, spin it round, press the dot button, and there we go. There's the wood. Now we can hide that wood out of the way as well. Let's come and do the metal part now. Some o going to grab all of the DL pass. So if I come back to my material. This I do. I'm going to press, Smart UV project, click. Then what I'm going to do is going to click on D click a sign, and there we go. That's that part done. Now, let's hide those out of the way. Let's come to our pillar now. L, Smart UV project, click. And then we're going to do is put it on fabric, click a sign. There you go. You can see that's how it looks. Now let's see we can get a bit more detail in this. I I bring it out, is it going to look better or worse. Let's bring it in. Yeah, and I think it looks much better like that, as you can see with a bit of it looking as though it's, you know, rough and ready. All right, so that's that bit. Now, let's come and hide that other way. And then what we'll do now is we've got all of these, and they're all the same. So we just need to pressure. Smart UV project, click, old, click a sign, and then tab, tag double tap a tab, double tap. There we go. There is your bed near enough, done. Now, let's work on our actual decal. I'm going to come and grab this one. Now the other great thing about these because we set them up is we've already created all of the subdivision. That's going to make things easier. If I press, bring it over, and I'm just going to minus this off, click new and I'll call this straw. I'm going to go then to my shading panel. C principled control shift and T, and then all we're going to do is look for our straw. So if we go back, and think dungeon straw, here we go, and we want to bring in all of these, basically. I'm thinking ambient occlusion. Do I really need ambient occlusion in this? I don't think so actually on this one. I'm just going to bring all of these in. Let's click principled. Let's go to our straw, and here we are. This is why straw looks like. You can see really, really nice. You can see it's really see through already. Everything is done, we've got a lot of light going through there, so that's perfect. All I want to do now is go back to modeling. Now I've set that up, and then let's bring it in. I'm just going to go to my straw when it lets me load up. Let's go to straw, and then let's bring it over. I'm going to press x -90, R x -90, so I'm going to bring it up. And I want it on there on the top of that, like so. Then I want to bring it in going under there. Don't want it coming out of the sides, though. I just want it on here. Now, the thing is, I do want this to be hanging over the side a little bit, so we can actually come in and we'll just pull them around. So I'm just going to grab it with this. In fact, before I do that. I'll just press shifty and just bring another one in and with this one, I'm just going to make it a little bit wider. S and x so, pull it out. I'm also going to rotate it around, so Z rotate it around a bit just so it's a little bit different. And then finally I'll bring probably one more in like so and I'll rotate it the other way on this one, so R rotate it the other way. Like so. All right. Let's come to this one first. And what I'm going to do is now, I'm going to just grab it and start pulling them out so I can pull them out like so. Now just be careful when you're pulling them out that you're pulling them in the right direction. Also on this, it might be a little bit handier if you put it onto your render engine. I think we should be able to see it once it loads up, and there we go. Now we can see our straws and now I can see where I need to bring it up and put it into place. Let's grab the other one now, and we'll do exactly the same thing. So I'm going to grab it and I'm going to pull it over the edges like so. And then what I'm going to do is I'm going to wait for it to load up and just lift it up. So I'm just getting to wear one on the edges first so you can see I'm pulling them out onto the edges, so with this one. Also going to do the same thing. So I'm going to grab it. Pull out so. All right. Now I have great on there. Now all I want to do is I want to bend them over. Again, I'm going to put it back on my material just so I can see what I'm doing. And now I want to bend these over. Now, pretty much, I can join them all up. Control J, join them all up and now I just want to bend these over. If I grab this one, this one and this one maybe, make sure proportionality is on, and then what I'm going to do is I'm going to press and. Like so, and bend them over just a little bit, like so. All right. Now bend them over. I'm going to carry on bend them over a little bit more and what was it? I'm going to bring it in this time, bend them over a little bit, like so, and I think that should be okay. Finally, I want to come in and put this on now random. Then I want to start bringing them up, so I'm going to press G. Bring them up. So like so, bring them, make them look very uneven, very uncomfortable as they should do if it was real straw, like so. Like that. All right. Now, let's see what that actually looks like. If I press tab, shades move, and now let's put it onto my render. I think what I have to do is subdivide them a little bit more is what I think. Jumble up the egg. It looks really nice. It really does look really cool. As you can see. Just let you load up a little bit. All right. I think the only thing that's left is just a bit more subdivision and then we're done. I also wondering, I think that's good enough. Well there is, I'll just come in adding a modifier subdivision surface can see smoother now. Just going to check it out before we finish. Don't. Let it load up a little bit. You can see it looks really, really good. All right. I'm really happy with how that looks. I'm wondering if I just need to move these over a bit. I don't think I'm going to mess around with it anymore. You can put more straw in if you want. I've showed you everything that you need to do and it looks really nice as you can see. All right. Now, let's search pre material mode. Let's apply this subdivision, so I'm just going to apply it. And then what I'm going to do now, I'm just going to add it all together. I'm going to go over to the right side, straw bed. I'm going to actually make a new one for it. S collection, right click new collection straw bed. And then one way to do is I'm going to grab my straw bed and drop it into my straw bed, close, right click it, mark as asset, close. Then let's go to our asset manager and drop it in place. I'm going to search for straw like so and put it into my props. There we go. Here is our straw bed, bring it in. And There it is. Apart from the fact it needs to have the orientation reset or transforms, right, Origin geometry. Now bring it in right in the center. That's cool. Now, let's spin it around, so I'm going to spin it around so 90. And what I'm going to do is I'm going to put it, I think at the back of here, move that forward, maybe. Maybe move that forward. I'm going to put it back. Maybe the here. Let's grab it. There we go. Maybe on the here, like so. And then what I'll do is I'll move this forward. I'll move these two forward, and I'll put that back just a little bit. Yeah. Something like that, I think will look really nice. All right. I'm just looking now in my modeling section. Okay. So scrub one, press dot, and then we can zoom out from that. All right. So while I'm actually setting this up is, I'm actually looking to make sure that we can have a beautiful render once we've done without having to go in and move everything around too much. All right, finally, then, let's go to file. Let's save it out, and I'll see you on the next on everyone. Thanks a lot. Bye bye. 85. Starting our Candle Props: Welcome back everyone to Blender and Engine becoming a dungeon propertiest and this is where he left off. Now, let's make a start, I think on our actual candles. What we'll do is shift this curse it to world origin. Again, you're going to learn some new skills in this one, that's great. That's why we've been slowly upping up the ante, making it more and more difficult to actually do her modeling and things like that. Basically, we've only pretty much got three things left. We've got the weapons right. We've got the candles and we've got the guillotine and the stretcher. Now, I've picked the candles because we're going to be using a few modifier stack in in that. Guiltine stretcher, we're going to be doing GO node which will be the ropes. And finally, with the weapons racks. It's just basically a combination of all the skills that we've already learned, and we're going to make helmets and things like that. I'm going to show you really easy techniques to actually do those. Basically just three actual parts of this actually creating the assets left. So I just thought I'd run through that quickly, just in case you're pretty tight at this point, there's not much more to actually go as regards to modeling assets. All right, so let's make a start on our candle so I'm going to do is press day. I'm going to bring in a cylinder. I'm going to make sure it's on 20. The first thing I'm going to do is I'm going to bring it in and make it the right candle size. If I press sons head, something like that, you can see is a fairly nice sized candle. Let's make it a little bit farther this one. Press sons d, bring it down a little bit. Just going to press one just to get it into the right scale. I'm going to also put my guy back on the floor, and then I can see how big this candle is going to be. You can see it's pretty big, so I'm going to bring it down a little bit. Put it back on the floor. And now I think that's quite good for a nice chunky size candle. All right, let's move them over there. And then what we'll do is we'll come back to our candle, press dot, zoom in. And now I'm going to do is just bring in some edge loops. Control, bring in a few edge loops. Left click, right click. I'm going to bring in six, maybe something like that. And what I'm going to do is I'm going to come to the bottom. I'm going to press. And then I'm going to press control, bring in a few more edge loops. So four. And then we'll do the same with the top. I'm going to press. And then four control. Let click right click. The reason I've done that is because I'm going to bring in a subdivision. If I brought in a subdivision just with the basic cylinder, then the mesh is going to be all over the place because it is trying to add subdivisions, but it'll only be able to add so many into the length of the and things like that. Let's reset our transform, right click origins geometry, adding a modifier, bring in a subdivision, and then there's just turn it up something like two. All right. That's the first candle. We might as well while we've got this, just go in and create another one. Shift D, S, make it a little bit smaller, so I'm going to press one. I'm going to bring it up a little bit. I said, then one more shift, bring it over. I said, and make this kind of typical type of candle, something like that. I think should be absolutely fine. All right. So now let's cut these across. Let's just move them out just so they're in a nicer position. And then what we'll do is we'll press one on the number pad. I'll grab all of them actually press shift as just to hide everything out else out of the way just so I can see what I'm actually doing. Then all I'm going to do is I'm going to press A to grab everything. Come down to where it says mesh, and we're just going to bisect it across. I'm going to bsect this. I'm going to hold the space bar just to where I want it. So something. Maybe something like that with this one. Maybe that's a little bit too much, change the angle a little bit, something like that. Then what we going to do is I'm just going to clear the outer of this. Of course, just remember to hit the film. All right. There we go. Let's press tab, and that's the first candle cut away. Now, we can see that it is a little bit messy on the inside of that, and I don't actually write that. Rather than actually do that, I'm just going to go back. I'm going to recut it, so I'm going to come up mesh and bisect pull it away. And then what I'm going to do instead of filling, I'm not actually going to fill. I'm going to put it like that, and I'm going to fill it in myself. I'm going to click off this fill like so. And then what I'm going to do is I'm going to press take off proportion edge it's in, press the S born and then ps, S, bring it in. S, bring it in, and then press te fill it in. And there you go, you can see it's filled in much much nicer. Now, the other thing when you're doing it like this is you can also bring in another edge loop, so control. Left click, right, click, and then we can actually pull it in a little bit. If I come to the center of here, pressed to grab everything on the center, minus off this then with the middle mouse bon, like so. Then press control plus a couple of times and sure be able to press G and actually pull it in like so, and you can see now. It looks much, much better. Actually looks like a candle should do. All right, so that's the technique we're going to use. Let's go to this one. Now then, press the tabbon A to grab everything, mesh, bisect, and let's cut this one away. I'm thinking. Yeah, probably probably like that, and we'll also. Come on to bsect again, and we'll just clear away just a little bit like so along there as well. Now we'll actually do the same thing as what we've just done. Hopefully, we'll fill it in just with on this one, and we'll do the same thing on this one, like so. There you go, you can see you've got the same thing. Now what we want to do is we can grab both of these now. We can press the born, bring them in, again, I'm having a few problems there, so I don't want to do that. What I want to do is instead of that, let's see if I can just bring them both in a t, just a little tiny bit. So let's press. And you can see that the reason we get that is that these two here are actually crossing over. All we need to do is fix that. Just grab both of those. Let's grab both of these, can I grab them both. Maybe I can. Maybe it's because making it a little bit hard for me? Let's hide those out the way. Let's see and grab it now, so we'll see grab. There we go. Right click and merge versus at center. There we go. Let's do the same thing on this one. I'm going to grab this one this time. I'm going to come round to it. Just a bit tricky. You could press B, I guess, and just drag it. There we go. Merge center. There we go. Now we should be able to fill this in correctly. If I come in now and press grab it or press B S, can I bring it in now? Yes, I can, and then, then. And then, and then finally, pull it in, like so, and there we go. Now, can I pull these down a little bit. I think I should be able to get away with it. Yeah, I'll probably shift click this one, control plus and go out that way and then pull it down. All right, so there we go. That looks good. Okay, I'm happy with that. Now finally, the last one. Let's grab it with A and mesh bisect. Let's pull it this way. We'll make this one just a relatively simple one, something like that. And we'll do exactly the same thing. Now we can with this one, probably, press press F so and just fill it in, and then we can just grab it, press the eye born and then bring it in, then press control, and just adding a few edge loops like that, and then that makes it pretty easy as you can see. Again, ship click Control plus down to here, and then just pull it in with the G so. All right. There you go. Simple candle to do that. Now we need to move on and we actually need to create the dripping wax that's actually going to go down there, so we'll do that next. All right. So now let's start to pull some of the parts out. What I'm going to do is I'm going to calm to this one first, and I'm going to grab, let's say, we'll grab this one going down to here, we'll grab this one, going down to here, this one, going down to maybe. Down to here, something like that. I think, well, I think we'll do it like that. Then one we going to do is I'm going to press test and bring it out, like so. You can see already that's looking pretty ne. Let's put it onto object mode so you can see what we've got here. Then all I want to do is I want to come and I want to grab all of these going round to here. I want to grab the next one over. As the next one over. Press the born and jaws pull it up. Tiny bit, like so, and there you go. Now you can see that's looking really, really nice. Finally, then, let's also make it so that we've got some parts of the bomb as well. So if I press control, bring it down. So we've got bomb. And then what I want to do is I want to grab let's say come into here and then here and here. And then what we'll do is we'll do the same thing. So enter altern and bring them out. And now, it looks as though it's actually sound something. And then what we'll do is we'll just grab any part of them, press G. Pull them out a little bit more. Same for this one then. We'll just grab one part. We'll just pull it out and there we go. It looks like it's actually got some wax on the bomb of there as well. All right, that's the first candle. Near enough done, you can see it looks really nice. It's a really good technique of doing it. I think actually what I'll do is I'll come and I'll bring the rest of it out as well. Just basically grab the bombs of it, pull it out. So you can see where the wax has gone in the bottom of it. There you go, now you can see it's looking fantastic. All right. Let's go to file. Let's save that out, and then the next one we'll carry this on. We'll smooth out this because I'm not very happy with this part here. Looks really rubbish the inside of there, so we'll saw that out, and then hopefully we should get these candles nearly done. All right, everyone. I hope you enjoyed that. I'll see on the next one. Thanks a lot. Bye bye. 86. Working with Remesh and Decimate Modifiers: Okay. Welcome back, everyone to Blender and Engine becoming a dungeon prop artist, and this is where we left off. Now, let's come to this one first before I do anything because I'm really not happy with that. Let's press sir control plus, and let's see if I can come to Vertex and smooth vertes out and just get that a little bit smooth them where it is, so I'm going to do it again. So mesh Sorry. Vertex smooth verses. Yeah. And then I'm happier with how that is now. Now I want to do is adjust one to smoove both of these out. They're a little bit too high up on the ridge of that. And all I can do is just press sens head and I should be able to sth them out a little bit more. All right. Now, let's bring out some more parts like we did with the other one. I'm going to have this coming all the way down to the thing. I think I'll have it come into here as well. I think I'll have a part coming into here, and finally one part, which will be this part here, come down to maybe there, something like that. All right, so let's press at Alterns and bring those out. Like so, and then just make sure that you're happy with them. I am happy with those. Again, now what I'll do is I'll grab them going all the way around. I'm just going to select that one and control selected going all the way up to here, maybe up to here, up to here. Shiftle shifts leg, shifts leg and one more shift select. And then just pull it up with E like so. There we go. There's the other candle gone. Now we can just come down. Again, bring in an edge loop, pull it down. And all you want to do is you want to pull this bit out. I'm going to grab all of this and I think I can basically bring it out so now I can do is I can just grab maybe some of these and I'll just press g and just start pulling these out, making them a bit uneven so so basically like that. All right. That one looks cool as well. I'm just looking now to make sure that this part here, you can see we have a problem and the problem is that these two here and all the way along here basically isn't joint. What I want to do is if I grab both of those, I can right click and come down to merge at center. Then I can grab these two, press shift, and I'll just copy the actual thing I just did. Shift, copy it and there you go, that is actually that fix. Really easy way of actually doing that. Now, the other problem we've got is when we click on these as you can see, when we apply this subdivision, it's going to be a lot of polygons, so we need to actually think about fixing that as well. But let's sort that after. Let's first of all, though come in, I'm doing exactly the same thing as we've done with the other ones, so I'm Jos going to bring this down. Probably to there like so, and then bring it down to here, and then finally bring it from here all the way down to here. Something like that, altern bring it out, just a tad like so. Maybe that's not enough, so press tab again, says, bring it out. Yeah, so. Then let's now sort out the top as we've done before. Control clicking, going all the way around to here, and then ship clicking all of these parts so including that one. Just make sure you don't miss that one. Just look maybe I've missed one in there, but we'll sort that out, and then this one here, press pulling it all. So And actually, probably. I'm just thinking should I join those two up. Maybe I should. We can see we've got a few problems in the mesh here. So probably grab those two shift off. Let's see. That's not going to work because our last operation wasn't that, so now shift off and it will work, and there we go. All right, that's looking better. Now, I'm happy with that. Again, I want to come down onto, bring in an edge loop. Let's bring out this part, so just the bottom, we'll press bring it out like so, and now we're going and just press G and just make it really. Uneven. We'll come with all these G, pull it out, and then just work our way around. It seems a little we, but once you've got the technique nailed down, you can see just how powerful and easy this actually is. So. There we go. All right. That's easy enough now. Let's actually think about now remeshing. What I'm going to do is I'm going to come. We'll do this one first, actually. If I add modifier and I go to remesh, and then what I want to do is, is come over and just apply this. Apply subdivision, press control a when you're over and over it, so now you'll see we've got all of these polygons. It's 14,960, which is pretty high. So now let's come in. And what we want to do is you want to come in and bring in a remesh. The reason I want to do that first is because when I decimate this down, if I don't remesh it, it's going to end up in a bit of a mess. So it's be first to come in, put it on smooth and just put this up to something like Even seven is bad where it was, even if it's going to be higher. If I press control now, go in, you can see we're at 55,000 polygans don't seem to have gone anywhere. Right click shades move. Now what we want to do is go in and we're going to use the decimate I'm going to put that down then to 0.1, something like that. You can see now we're at 5,000. Can we get it down even further? No 0.5 even down even further. Maybe that's pushing a little bit, 2,748. Maybe actually that might be okay because I mean, they are we canals, they're going to have a bit of roughness and things like that. If I press control a now, hover over it, press tab, and you're going to end up with something like that, 2,766 polygons, which is much, much better. We basically stacking modifiers up now to basically make it fix the topology and then we decimate it down. Now, the topology on this ain't great isn't great at all. But the thing is, you could go over and read apologize this now quite easily. Now, let's come to this one. Again, what we're going to do is going to press control A. We're going to then come in and add in our remesh. Mesh. We're then going to put it on smooth. Turn it up to seven, seven. Can we get away with that? I'm going to turn it up higher. One more. Now I'm going to turn you up to something like that. I'm going to shade smooth. I've got a problem with these at the moment. I'm not really happy with that. I don't think I'll fix it. So I'm going to do is, I'm just going to clear that off and I'm looking to see decimate it without actually doing that. Let's try the decimate. Let's put it on 0.5, actually, it's going to weigh be this time, probably just decimating it like that. Let's put it on point 0.2, try that. I think that looks a lot and were about the same. Control, apply that, and I'm going to leave it one, one. Same thing on this one. I'm going to do exactly same. I'm going to try and take out my remeson and just decimate it. Let's see if can get it down to 0.2. Shade smooth, there we go. I'm actually going to just leave it like that. All right. There we go then. Let's press saltpe, bring everything back. Then what we need to do is we need to bring in the little thing that comes on there, so we'll do that now. Let's come to this one. Shift S. I'm going to bring in cursor selected, shift A. I'm probably actually just going to bring in a bezier curve. Let's make it smaller. Let's spin it round, spin it round, let's bring it up into place. Let's make it even smaller, bring it down. And then what we'll do is we'll bring in some where is it some depth to it. So turn it up. Let's fill the ends as well. The ends. I think we've got one that says fill caps. There we go. And then what we need to do is just turn down the resolution. So turn it down. Obviously, I want it up a little bit higher than that, so we've actually got some bend in it, and we can also turn down the resolution on the other end as well. So you can get away with a lot here because there's just going to be a flame. Covering that. All right. Let's now press shift, bring it to the other one. Of course, on this one, it should be a little bit smaller. But because we've already got it in there, it means it's just easier now to make it smaller and move it around. Basically, I can add in a subdivision, add subdivision with right click, and then all I can do is I can just grab it, put it onto. Even if we put it on this one, which is the random, we can still probably get away with doing it that way. Yeah, something like that, and then shift, bring it to the other one. Like so, and then let's just move these around a little bit, straighten it up a little bit. So. All right, so they all look different now, and we've got in those parts. Finally, let's just grab each one of these now. So I'm going to grab them all at the same time, like so. And then I'm just going to grab each of the top ones like so, and I'm just going to press old test, and what I'll do is just bring the tops of them in slightly like so. There we go. They're finished. Now, let's just go to object, come down to convert, convert to mesh. Finally, now, let's just grab each one. Control J. Same with this one, control, and the same with this one and control J. All right. Now, if you look on your reference, you will see that I don't think we actually have any big versions of our candles, where you can see that we've got a nice rounded one here, and then we could just got the smaller one, and then of course, we've got the flames on. All do is on the next lesson is we'll add in our flames there just a simple tet simple emission. I'm not sure if we've actually got a texture for the flames. I'll check that actually before we move on. Then what we'll do is we'll just basically, we can bring that in in real engine very easily anyway. In Blender, we can just add a bulb, give you some emission, and we're probably going to do it that way. All right, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 87. Adding Textures & Emission to our Candles: Okay. Welcome back, everyone. Blend on a engine becoming a dungeon prop arise, and this is where we left off. Now, let's make actually, let's bring in, I think, first of all, we'll just bring in the wax thing. We'll do that first and then we'll add the actual flame on there. What I'm going to do is I'm going to c over to my materials. I'm just going to grab a material because I know that I haven't actually put any material on, which is wax yet, so I'm just going to clear this off. Put it on materials, click new when it loads up, and then we'll just call it candle wax. Wdlewax Okay. And then what we'll do is we'll go to now our shading panel, Zach same thing as what we've done all these times before. Click on it. Control Shift T, and the one we're looking for now is candle wax, which is, let's have a look. We've got don charcoal. I think it's down the bottom actually, so we've got wax red Dungeon wax. Is this one here, so we use that I think. I'm going to grab all of these up to control click. The rest of them, bring them in, and there we go. There's our wax. Now, for the actual we could use the iron actually for the actual tip of the candles because you're not really going to see them. So let's just zoom in. Let's actually grab them. We'll just press A and smart UV project, click, and then we'll just add in the wax. If I look for wax, like so, I'm going to be candle wax tab there you go, you can see how nice that actually looks. Now the thing is we might need to make that much bigger thing, maybe. Let's go to our UV editing. Let's load it up. Let's grab them all, press dot to zoom in. Then what I'm going to do is going to make much, much bigger and see that looks any better, or much smaller, which one will look better? Probably probably bigger, I would say. So a look at even bigger. Yeah, that's not looking quite right. I definitely know it's not that make it really small. I'm thinking actually make it a little bit bigger. Something like that, I think looks actually fine. Let's click the plus and we'll click the down arrow and we're going to use is iron and we're going to use iron do then I'm just going to come into this bit L to grab it and just click a sign on the iron do. I didn't grab the top for some reason. I'm not sure why. I think that's actually split up. There we go. All right. That is our first candle done. Yeah, that looks fine. I'm just looking at the shininess off there, but I think it's going to be fine. We'll have a little bit of a shine on it anyway. All right. So, let's now grab these two, and I'll grab this one last. I'll press Control L and I'll link materials. And then what I'll do is I'll come in edge leg. And I'll grab this one, Smart UV project. A, make it smaller because that's what we did. Let's take proportion editing off because it's on randomized anyway, so we don't really want that, and let's now do this one. L Smart UV project. A, bring it in, like so. Now finally, let's grab both of these. Some jaws going to grab. It might not do them at the same time because there are two separate objects to sign. I actually did. I didn't think that way. I actually did. All right. There we go. Now, let's think of our flame. What I'm going to do is I'm going to bring in Well, first of all, yeah, I'll bring in a let's mesh UV sphere. Let's put this on something like 20. Let's put this then on something like 12. Let's then go and grab the top of here, like so. Let's grab the top with C, just to grab all those. Then what we'll do is we'll put proportional editing on and let's put it on to maybe I think shop Let's try shop. That might work actually better. All I'm going to do is just bring it out. So you can see that we're getting that nice candle type flame that we're actually looking for. Obviously, we need a nice end on here. I'm going to do is, I'm just going to come in, grab the sides, press control B and do that. I think that's going to be fine. I'm just thinking if that's going to be okay. Let's make it smaller, let's press dot and zoom down and then let's bring it up into place maybe make it a little bit smaller. Now, let's just give this some materials right click shapes move. New material flame Then do is we'll make a nice orange color and we'll go down instead of it being principled, we'll put it onto emission, then put it onto the nice yellow color, and then let's just turn that maybe 4.5, something like that. Let's put it onto our rendered view. D the A. Okay let it load up and there we go. Now what I'm looking for is just to make sure I'm happy with the way it looks, the light. Let's put it on seven also, I think it's a little bit too far the bomb. I think that's what it is, that's putting me off of this. I'm going to just come in, shift click, and I'm going to put this onto smooth. Then I'm going to just squish it in, bring it in, like so now I think that's looking much much better, double tap the eight. Now I think I just need to play around with the color a little bit. Yeah. Something like that I think looks much better. All right. I'm happy without that looks. Now I'll do is I'll go back to Modeling son as we've done that. Now I can press the dot on. Okay. No, I can't because I'm not on it. There we go. Now I can. I can press the db on now. I'm just going to go over the top with seven, and I'm just going to put this into place. Now we can see that this part here, some reason hasn't unwrapped properly. So I'm going to grab all this again. I can see that we're having a few problems actually wrapping that, as you can see. It's like as though I take off this. I have a look. Yeah, it's like as though it's not grabbing everything. I'm just going to grab it all, Smart UV project, click Okay. Yeah, and we still got problems with that. I'm not actually entirely sure why that's actually got some problems with it. But what I can do instead of unwrapping it like that is I can just go over the top. And I'll just unwrap it a really easy way. First of all, though, I'll grab the top of these. I'll hide them out of the way, and then I'll grab the top of this. I'll grab one of these or something like that round here. Then I'll just do control plus control plus. Actually, that's not even going to work. I'll do it a different way. What I'll do is, I'll mark a scene going all the way around here, click Mark grab the top of it, press L wrap. We still not working. That is very strange why that's not working. Let's hide the other way. And we've got this mesh on here. I think that's what's causing the issue. Now, if I grab all of this, like so, I'm not grabbing all of that. I can hide that other way, and I've got this now. So I'm going to get rid of this and I'm going to grab this now. I don't know why I've got this issue actually. But what I can do is dolt see dissolve edges. Let's press salt mine. I just wonder if it will come back actually like that. All right. It's come back like this. Let's see if we unwrap this now. You unwrap. There we go. Now it's rap, much, much better. Now I need to do is right click and we'll triangulate faces, and there we go. All right, that's that fix. Now, let's grab this one, and then what we'll do is we'll go over the top. We're going to press it D. Bring it down. Now because this candle is smaller, obviously, it's going to have a smaller flame on it and put that in place like so. Then I'm going to press shift D, bring it over this one. They'll always point, by the way, they'll never point to an angle just so you know. I'll make it a little bit smaller, but a little bit longer. There might be a little bit longer, but there certainly won't be any angle or anything. Let's join them altogether, so Control J. Join this one and this one. Control J and this one and this one, Control J. There we go. There's our three candles. Now, let's just move them over here, and then what we'll do on the next lesson is. As you can see from our reference, we'll just create two holders, just two simple holders, and then the candles will be done. We'll have five different versions of the candles to using your dngon or wherever you're going to use them. All right. Let's put those over there. Let's go to file. Let's go to save, and I'll see you on the next one every one. Thanks a lot. Bye bye. 88. Finishing the Candle Props: Okay. Welcome back, everyone to blend on real engine becoming a dungeon props, and this is where we left off. Now, let's grab I think this one and we'll press Shift D, and we'll also grab this one and I'll press Shift D like so. All right. Let's make the small one first because that one is the easiest, shift it's a selected shift let's bring in a cylinder. We'll have it on 20. That should be absolutely fine. Let's bring it down and make it the right size first. I'm just going to press dot. I'm also going to press one on the number pad, and I'm going to bring it down then send to the size I actually want it, maybe something like that, maybe a little bit smaller like so. All right. Let's bring the first bit in, so I'm going to come in. I bring it in, and then, drop it down to it looks as though the candles actually sat there. Now what we'll do is we'll bring in the bottom of it. I like so, and then E and then what I'll do is I'll bring it out now. S bring it out. Control maybe five edge loop, something like that. Grab the middle one and then just bring in your proportional it in, press the S born, and there we go, we can bend it in the way that we want it. Now finally, let's take proportional editing off and make the outside of it. Chlate S, bring it out. And then enter, bring it out again. Then finally, let's press, Z, bring it down. Make sure it's actually got that blue line on, and then you just want to fill it in. You can see it's already filled in for me, and that's because I'm not actually sure why I did that. I'm just going to delete delete faces and just make sure that it's actually okay. So now I'm going to come in and just refill it in as I needed to anyway. Alter fill it back in. Now, let's come in and grab this part here, and all I'm going to do is just press and just bring it all. Okay. All right. Right click shade smooth. There we go. Let's put it to smooth and let's also level this off. Control A or transforms, right click, into geometry, adding a modifier Let's put it on the object just so we can see what we're doing. No 0.3, something like that. Let's try 0.1. I'm going to put no point b two. Yeah, no 0.2. I think looks absolutely fine. Now I'm going to apply that and then I'm going to add in a material. Click the down. I'm looking for iron. We're going to go with the iron dark and that's basically that one done. Now, let's join these both together. So I'm going to click this, click this one last. Press Control J, join it all together. We can see there that we didn't have our altos move on. So just put that on on 30 and then drag it over there, and then that should be done. I'm going to check that in a minute. First of all, though we'll come to this one now, Shift S, cursor to selected. Now we're going to do pretty much the same thing. Although this one is a little bit more This one's a little bit more ornate. Ship bring in a mesh. The thing is as well, what I need to explain is when you bring in a cynder or cube, they always come in at round about the same size. But what you can actually do is you can actually turn them down. You can turn things down like the radius, for instance. I'm not going to do that. I'm just going to put that on one again. I think it was on one. Yeah, there we go. You can turn on the depths, you can bring that down as well. You can also turn down the vertices and things like that. Just so when you bring in a que, it doesn't actually have to be that actual size. You can also as well, change the gons to triangular or to nothing instead. Then what I'll do is I'll come in with nothing on there. You might find that easier to wait with. I'm going to keep it as what I added, goes, and then you can alter it as you see fit. First of all, I'm going to bring this in. I'm going to bring it down to where I want it, which will be probably this so with Essen, make it a little bit thinner so. Then what I'm going to do the same thing as what I did before. I'm going to grab the inside of it, press the i born and then press, bring it down, so it looks as though that thing is actually sat on something. Then what I'm going to do now, I'm going to bring the outside of it. This part on here, just a little bit with the S born then we're going to press, bring it down a little bit, and now I'm going to work my way down. All I'm going to do is going to press. No, not. I'm going to press, sorry, bring it to here, and then I'm going to press P, and then find the what I'm going to do is I'm going to bring this in. I'm going to bring it in like so. Now I'm going to press control, bring in a few edge loop. Three, left click, right click. Shifting click, bring in my proportional legs in, and then just bring it in like so, and that's looking very nice. Now we'll work our way down. We're going to grab the bottom of it. I'm going to bring it in very slightly. So I'm going to press down to here, something like that. Actually, we'll bring it down a little bit further because we are going to make it a little bit. Then what I'll do is I'll press enter, and I'm going to bring it down. Two without proportional editing on down to here, something like that. Then what we're going to do is I'm going to pull it out, S pull it out. Again, some more edge loops. Three edge loops. Left click, click click proportional editing on, and then just bring it in. That's looking very nice. Now we just need those edge loops going around. The way we're going to do that is, we're going to come take off proportional editing, bring in three, one, two, three, so right click, just to drop them in the center. The problem you're going to have is you can see as I bend those around, it is going to alter the shape a little bit, but I think we should be fine alternate a little bit. Press control B, pull those out. Then all we're going to do is press terns and just bring them out, making sure that offset even is on. There you go. Now, let's come into the last bit then. We're going to grab this part here. I'm going to I think I'll press S, bring it a little bit out first and then we'll do is I'll press, bring it down to here, press the S bond, pull it all the way out like so, and then press control. Three, click right clip, and then I'm going to grab this ball, click proportional editing, press the bond like so. Then we do is I'll make this top now a little bit more ornate. Control Control B, take off proportional editing, enter test. Then let's finish this off with the bottom part. If I press control off, click right click, shift and click enter less, bring it out, and now let's have a of what that looks like, and you see it's really name. It looks really nice. I'm just making sure I'm happy with it. I think I need one more on it. Control, click plate, Control B. And then enter altern bring the saver, or you could bring it down to make it look a little bit different. I think I'll bring it down actually. Click shapes move. Let's bring on tomo and have a look what that looks like. Think that looks really nice. Now, let's just think about the top of it. I'm not happy with that. I think I'm just need to bevel it off, so control transforms origins geometry, and modify it. That will modify, and I think actually that's come in perfectly, that's fine. And now we can add our candle. In fact, no, we won't. We're just bringing in some material first, so the down arrow and we're looking for iron on old or on do we need do. Now we can do is just join these together. Now, I know we need to unwrap these still, so let's come in. Because it's met should be a simple case. I'm just unwrapping them, so we'll see when this loads up. And now I want to do is I'm going to come in, grab all of this. Smart UV project, click. There's that one. Now let's come to the second one. Smart UV project, click, and there we are. We're done. All right. So now let's just line them up so they actually go onto the ground plane, first of all. Then let's go over the top. And what we're going to do is I'm going to line them up, so these are behind these ones here. And there are your candles actually finished. Now let's actually rename them. So we'll call this large candle. I'm just going to press dtarge candle. And then we'll have medium candle. And then we'll have a small candle. And then finally, we'll have nate candlestick. And then we'll have a simple candlestick. Simple Candle stick. Like so. All right. Let's grab them all now they're no longer going to do it. I'm going to right click and mark as asset, and then I'm going to come see collection, right click. New collection. Double click it, candles, and then let's drop them all in. So again, B, grab them all, and then assured, be able to drop them all in there. Like so. And now let's put them into place. I'm going to pull them back into a nice place like so. And then all I'm going to do now is just drop them in my asset manager. I'm going to come to all take this off and just put candle. Then we've got all five of these. I don't know why that small candles come in like that, but I'm just going to have a look. The one thing I did not do is I didn't reset the transformations. That could be why that's happened. I'm just going to grab them all. I'm going to press control all transfp click Set origin. Where is it right click. I need to grab one of them first. Right click, set origin to geometry. Then one I'm going to do is, I'm just going to take them all off. I've got all these candles here, right click, clear assets. Now let's come to that small candle, right click and markers asset. There we go. Now it's working. Now, let's grab all of them, right click, markers asset, and there we go. Now I can grab them all and just drop them into my props. Let's go to modeling. We'll have the A. Let's have one quick look at it, so we'll just put it on render. See where we are. Let's turn off our squares. There we go. Candles are done. We're really marching along now. Now, let's turn off our render. Let's put it back onto material. Let's save about our file and on the next lesson, we can move on something else. All right, everyone. Be enjoyed that and I'll see on the next one. Thanks bye bye. 89. Creating the Sword Blades: Welcome back everyone to blend on engine becoming a dungeon props, and this is where we left off. Now the next one we're going to move onto is our actual weapons rack. We've got the weapons rack left, we've got the guiltine and we've got the stretcher. The weapons rack is basically going to give you a test of everything that you've basically learned so far as regards simple modeling techniques and speeding up that waveflow basically. And then finally, the guillotine and the stretcher, as I say, again, it's the same thing apart from we're actually going to create a rogue geo node for that, which you can take away then and using any of your designs or blender. You know, models and things like that. All right. That's the way that we're going forward. We're just looking at a weapons rack. When you look at something like this, we can now discuss breaking things down. You can see that it's basically broke into four parts. We have a shield, we have the rack, we have the weapons, and we have the helmet. Now, normally, when I'm doing something like this, I will tend to start on something like the weapons, then build the rag, then the shield, and then finally the helmet. I know the helmet is probably going to be the hardest part to actually build. I generally leave that to the last. You might want to take that on first, I generally leave it to the last. So let's start with the weapons and nas again, I'm making one weapon, I might as well make four at the same time and just make them a little bit different. So I'm just going to move this to the right hand side. And then what I'm going to do is just make a start. First of all, I'm going to put an object mode. I'm going to come in, Shift S. Cursor select to world origin. Bring my man by. And then one to do is I'm going to bring in my first weapon, which, of course, will be based on a cube. Shift D, bring in a cube. I'm going to bring down the size of this cube. I'm going to bring it a little bit smaller, like so, so now every time I'm bringing this cube till I restart blender, my cubes going to be that solve size. Now, let's press S. Then one going to do is I'm going to pull it out with S and y2b the same right size for an actual weapon. I'm going to press Shift D and just check the size of this. X 91 Now, remember, he's going to have a god. There's going to be a handle, and finally, there's going to be a little pummel at the bottom as well. So we just got to take into account. So I think this size have got it looks to be about the right size. I think if we went any bigger, it's going to be like Chanana Barbarian territory, and I don't think we really want that. Let's leave that the way. And then what we're going to do is, we're just going to make this a little bit thinner. S and, to give myself something to wear with. Something like that I think is about right. Now, bearing in mind that you can see, maybe that's a little bit too thick. So let's go a little bit more like so and maybe something like that. All right. We'll wear with something like that, or I'll try to wear with something like that. Next of all, then, before we actually duplicate this for our four sorts. We might as well bring up a edge. Control, left click, bring it up here, and then bring in a few edge loop. Control, let's bring in three, left click, right click. Now let's make the end of here a little bit thinner basically. Also, I think we should bring in one edge loop down the center because that's going to help us a lot. Now, let's bring in the top of this end because this is going to be where the tip of the sort is. I can grab this, press seven, press S and X and just bring in and get a nice tip. Of my sword like so. I'm still happy with that because it needs to be probably more round than where it is, so I'm going to go in again. I'm going to take fortunately ing off, and then one to do, I'm going to press S and X and bring it in. Then I'm just going to go round now and then S and X and just bring it out a little bit. Just get in the shape of that sword that I actually want. S and X like so and now much happier and you can see it looks much, much more like a sword. All right With the first sword then, all I'm going to do before I actually do that, I'm going to move it over. I want to press shift. I want to press shift. I'm going to press Shift D. Now, want the swords to be relatively the same length. So basically the same length. All I want to do is make them a little bit different just to show you how I can make it variation and things like that. So let's come to this one first. And what we'll do is we'll just press control shift select. And then what we'll do is I'll just press Send and just bring it out like so. Now you can see, I do have a little bit of a problem in that it's coming out based on here and I'm not happy with that at all, so that's not the way that I want it. I'm going to do instead, I'll just grab both of these like so and then I'll press pesansd and pull them up. Now the reason actually, I found out now why it came out like that is because it's not coming from a medium point, it's coming from individual gin Let's try that again. Now let's pull it out. And now you can see that's looking much better. Let's pull it out even further though. Z, and now we'll work on bringing these two parts in. If I come in now and grab this one and this one, press Z, bring them in, and then we'll grab this one and this one, Z, bring them in. We want a nice general slope, this one and this one, bring them in, so. I'm looking at the side of it and I can see I need to bring this one in as well. So, bring it in, and I'm going to now work my way along. Said bring them in. Then S bring them in. Finally, let's grab all of these now. All of this tip, not this part. I don't want that grabbed. I want just all of these grabbed and you go around the back, make should they're all grabbed and then S and Z and bring them in. There we go. There is a nice sword and a nice sword end I'm happy with that. Now let's move on to the next one. We'll make this a little bit different. I think what I'll do though before I actually carry on is I'll just come in to each of them, and I'll just bring in the ends of them because we need to make them a little bit thinner, I think, on the edge, so I'll just save me a little bit of time doing it that way. Now for press S with proportional editing on. It's going to make it a little easy for me so let's bring them out. And there we go. Now they look a lot more like sort. All right. Let's come now to this one. We'll do this one first. And what I want to do with this one is, I think I'll just bring it in. So I'm going to give it another edge loop, so controf click, right click. Another edge loop, Control, left click, right click. And then I'm just going to grab this one and this one, I think. And then what I'll do is just bring those in. I'm going to press Z without portion of it. S and Z bring them in. So the nearly touching like that. Yeah, something like that looks fine. Just delete these faces off for here. We're not going to need them. You might let them twice, by the way. Sometimes you do. Delete faces can see we have to leave them twice, delete faces, and now we can go round to the back and we can do the same thing again. Delete faces. All right. Now what I want to do is, I want to come to the next one. And the next one. I'm just going to make it a little bit different. I'm going to do is I'm going to press. I'm just thinking the best way to do this. Yeah. I think I'm going to bring it in. I press control. Let click, bring it down to something like here, and then what do is, I'll grab this one and this one and I'll just move them along. Then what do is now I'll come in and grab this going all the way up to here to here down to here, and then I'll do the same underneath. Control click in. Control click Control click, Control click, all the way down to that. Then what I'm going to do is I'm just going to control all transforms, right click Sgino jump tree just reset them all because I'm going to use my insert and bring them in. Now we have got a problem at the top, as you can see, we don't really want that to happen. Let's just minus these of These two top ones and see if we can get away with it now if I press and bring it in, like so. Then all I'm going to do is e enter Ns and just pull it out. I think that looks pretty nice. All right down to the last one then. The last one I'll just make pretty much straightforward sword. I'll think I'm just thinking if you bring it out just straight instead. Yeah I think I'll do it that way. So all I'll do is just wondering if you can press and then bring it out with a straight point. Now, I think I I'll just c and grab more going all the way around, and I'll just insert them basically. So I'm just control clicking again. I know I need to I'll just have to fix them when I bring them in, so you'll see I bring them in and they're crossing over, and I'll just have to go in now and fix those before I do anything. All I'm going to do is just grab all three of these. I think I go away with grabbing all three. Let's merge vertices at center, and then we go let's do the other one now. Again, all three and then just shift, and I'll do that for you. And now we can just bring them all out. So if I come in now can grab all of these, Control click Shift click. Again, with this one. Control click Control click. Control click. Now we'll just press S sad bring it out there we go, we can see the looks pretty nice. Although probably a bit too thick on that one let's bring it back in. All right. There we go. Three different swords made pretty quickly. What we'll do on the next one is we'll actually start work on the actual guards. Moving down to the hand handle and then moving down to the pummel. And then we should have these done. All right, Ron, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 90. A Sword has to Have a Guard: Welcome back, everyone to blend it and engine becoming a dungeon props, then this is where we left off. Now, let's move these over a little bit. So we grow enough room to put our guards in. And then what I'm going to do grab this one, shift cursect shift bring the cube the cube come in the size that we left it, which it did. Now I can make this the right size that I want it. I'm going to shrink it down, first of all. Then I'm going to press S and X, pull it out. Like so. All right. That's a good start. Now, one thing I would say is whenever you're doing anything like this, I would make an indentation in the top of it and then duplicate it over. That I think will be the easiest way. If I come in, grab this edge, press the i born, bring it in, so then bring it in a little bit more with the S and X and then just pull it back a little bit. And then it looks as though it fits in there properly. All right. Now I can do is I can bring these now to these parts here, over to the swords and pull them all back to be the same length. I'm going to press Shift S, cursor selected like so. I'm going to press Shift D, Shift S selection to cursor now basically I'm going to do the same thing. Shift S. Cura selected. Grab it, shift D, drop it anywhere. Shift S, selections cursor, Shift S, and then just rinse and repeat. Shift D, shift, selections, cursor. Now we can do is we can drag them. Well, we can't drag them all back because they all have different points, but we can drag them back individually now, put them in the right places. We can see move that one little bit wrong. Put it into here, like so. All right. Let's make a start on this one then. With this one, we'll have it go in, I think. First of all, I'll pull this so. So then what I'll do is I'll think, I'll add in. I'm wondering if I can actually get away with adding an edge loop in there because of the fact, can I, it's going to be a bit of a mess adding an edge loop in there because of that bit that we've got on here. When you have something like that, probably best off just splitting off this part of here. Now, you should be able to bring in an edge loop. Control click click Control, click, right click, as you can see, that may be a lot easier. Then we'll just pull this out, like so, and then we'll add some ends on here. If I grab this one, and this one, and I'll just press S. We can see that it's pulled out like so. That actually might be okay because now we can just go in shift click Shift click, terns, we can see that we're not pulling them out properly, so I'm going to try putting them on individual origins. And I'm going to try an S is not working. I'm going to pull them out like so, and I'm just going to see, that's not going to work, so we don't want that one. Okay. Let's go back and see now. I I I press G, you can see they're all back together. Let's go and do that again. E and S pull them out, and there we go. I'm leave them as that. All I'll do then is just pull this out now on S and X, pull them out based on medium points. S pull them out, and you can see already, that's looking pretty nice. Now let's bring this bit in and we'll have a nice end on here, so we'll co into this bit, we'll press. Like so, and we'll just pop that down like so, and that's looking pretty nice. Then on the back, we'll we'll do pretty much the same thing. But we'll probably pop it out the other way, bring it down, pull it out, and there we go. All right. That's looking pretty nice. Now, I just want one more bit in here. So we're just going to grab both of these. I bring them in, and then just pull them back. I think that's going to be fine. All right. Now let's move on to the next one. The next one, well, I've done that one like that. I'm wondering if I bring in these two edges this time. Again, I'm going to need a edge loop. Again, I'm thinking rather than do that, I think what I'll do is I'll bring in my own edge loop. I'm just wondering how I can do that easiest way I think is just to grab these two ends, and, bring them in, and then x, hold them out, and now I can actually work with that. We'll do it that way instead. Now I can do is I can just put them on individual origins and bring them in. Like so, and then S, bring them out, and then S and X, pull them out. If they don't pull out, just make sure you're on medium point, so S and X, pull them out. There we go. That one's also looking pretty nice. What I'll do with this one is, I'll press the, I'll just bring this out like so. Then we'll do is as well, I'll press the Like so, and I'll just bring this out and we'll put probably a bit of a gem on here. So control there we go. We can have a little bit of a gem on that one. And I think that will be nice as well. Then I'll leave the other side of it. It's looking a little bit too big. That's the only thing I would say. So I might be able to get away with pulling it in a little bit, so next, pull it in. And I'm thinking as well that I will grab the end here, the end up here, control plus going all the way down to there, and then S and X, and just bring it in a little bit more. That's that one done. That's looking very nice. Let's have another one now, so we'll do exactly the same thing on this one. I'm going to grab both of the edges on here. I'm going to pull it in first, grab both of these, that one there. S and X, pull it in. I also. We're thinking I'm going to press S x, pull them out, and then and pull them down, and then S x. And then enter S then this one we'll just pull out pull them out like that one looks quite nice as well. All right. Now, what we'll do on this one is, I think we'll pull it out a little bit, so if I press, pull it out, and then press S have this one a little bit like that, and then we'll grab both of these. I'll actually reset the transformations, and then I'll press, then I'll just pull those out. Like so. All right. That's looking fine. Now finally, we'll do this one. Again, we'll do exactly the same thing. So when you're going to grab both of these sides. S and pull them in, and then we do is I'll think I'll have this. Maybe a little bit curved actually on this. So first of all, do S and X, pull it out, S, bring it in. And then, and, bring it out, S, bring them in, and then and bring them out. And then what I'll do is I'll move it out. You can see, I've knock on my movement tool bringing my movement tool back there we go, we'll bring that out like so. Okay. And then all I'll do I think we'll try leveling off this one. So I'm just going to press Control B, Bevel it off. So yeah, I think I'm actually happy with that. I'm thinking. Do we need anything on this one, because they're all pretty much very different from each other, and I think I'm happy with how they look. I don't think I actually need anything on that one. All right. What we'll do now is we're just bring in the handle. Again, we've got our transformations maybe set in the center. So I'm just going to grab them all. I want to press control a all transforms, right click. Sg into geometry. We'll come to this one first, we'll press shift, cursor selected shift A, and what we'll do now is we'll bring in a cube. We'll make it smaller, and then we'll bring it down to the right side, so you can see, basically, you can see is handier. Let's come in, grab the back of it. Face select, grab the back, pull it out, like so. And this looks like now a handle, apart from, it's a very square handle, so we want it to be a little bit round. So rather than do that though, I'm just going to press shifty and I'm going to move it over to here because I might want them different. So I'm going to grab this one. I'm going to grab the edges going all the way around, like so. Press control B, and I'm going to just level it off like so. Now I'm going to grab this one or this one first, Shift S. Ur selector grab this, Shift S, selections cursor, keep offset, and now let's pull it back. Now, we can see that because this has not got the orientation in the middle and each press control A all transforms, right clicks that origins Ju tree. Now it's in the center. Now compress Shift S, selections cursor's still not in the center of it, which is kind annoying but we'll just pull it in. Pull it in where we think it's going to be in. Something like that. And let's pull it down. Now, let's copy this before. Shift D again, and let's come back to this one. We're just going to grab all of these edges again, pretty much the same thing. I'm going to press control B. This time, now I'm going to make it a little bit thinner and we're just going to turn that up to two, then this one, I'm going to grab this one first, shift we might need to move it down. Shift selection cursor, we're going to have to pull it down, every one, I guess, we're going to have to do that with, pull it out. I'm going to make this a little bit smaller this handle because some of them will be two d, some be one handed, so we'll make this a little bit smaller. We'll also press control on this one. Bring in a few edge loops and then just bring out the edge of it with portional editing on. S bring it out just a little bit like now just bevel it off, grab all of it. Shift click Shift click and then press Control B, level off. I'm actually happy with two there. Then finally, the last one, I'm just going to steal this one, Shift D. And what I'm going to do is I'm going to press Shift S. Cursor selector, grab this one. Shift S. Selections cursor, and this one might have actually gone right in the center. So that's pretty nice. So I'm just looking this one and I'm going to do is just bring in three edge loop, grab the center one and then just bring it in. So there you go. You've got three different handles on that. All right. What we're going to do now on the next one is we'll actually do the pummels. We'll go off and save it. By the time that lessons finished, we should have the swords. At least the swords actually done. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 91. Modelling the Weapons Rack: Welcome back to everyone to Blender and real Engine becoming a dungeon prop artist, and this is where we left off. Now, let's think about our pummel. We'll come in and we'll press shift S. Sta selected. Then we're going to press shift A. I'm going to bring in a tube what I'm going to do is going to make it a little bit smaller. I'm just going to make it fit onto the end of here. Then one I'm going to do is, I'm just going to press shift D, drop next one, next one there. And it just makes it a little bit easier then just to start these are the ones. All right. So with the first one, what I'm going to do is I'm probably going to grab the end of here. So I'm just going to press the S born with that portion of ing on, like so, and then just pull it out coming down to here, and then S and bring it back in, something like that. And then what I'll do is I'll just level this off so if I come in shift and click, and we'll just level this one off, making it a simple pummel. So, something like that. I think also, maybe. I'll leave the top of here on there. Think that's good. What I'll do is though, I'll come in with face select, grab this bottom face, press control B now and just level that bit off as well. I think that just makes it look a tomb. All right. Now onto this one, Shift S, cursor selected, Shift S and selections curse just going to grab my e. Shift S, selections cursor that's not where I want it. Shift cursor selected, and then shift, selections curse there we go. All right. This one, I'll make it probably just a very, very simple one and this one. I think I'll just grab it like that. I'm going to Yeah, I think I'll bevel this off, so I'll try beveling this off first, something like that, and then I'll just bevel the end off, so Control B, really simple end on that one. All right. Let's come to this one then. Shift S, cursor selected, grab my e, Shift S, selections cursor on this one, I'm going to make it a little bit different. First of all, I'll make it probably come out. So what I'm going to do is I'm going to. I'm going to make it a little bit smaller, so I'll bring it in a little bit. Then I'm going to do is I'm going to bring it out. I'm going to pull it out to here. Then I'm going to press and pull it out again and then finally and pull it out again. Now I'm going to do is just put my proportional editing on, press the Spon and bring it out. Now what I'm going to do is just bevel these off. I'm going to come in with old shifting click and just use the shape on the bevel. So I'm going to press Control B, bring it in. But then what I'm going to do is I've already got on two. I'm just going to change the shape now to go inwards. Like so, something like that, and now I'll just finish it off with a nice end on there. So what I'll do is I'll grab this. I'll try pressing Control B actually and bring it in. And I think that actually is going to look really nice. That flat when you can see, it's a lot more or than the other one. Now, let's do this one, we'll do exactly the same thing. Shift S, curse selected, grab my cube, shift, selection to cursor now let's bring it out. What I'll do with this one is, I think it's probably make it a little bit wider. I'm going to press S and x, just pull it out like so, and then I'll just round off these edges. If I grab all of these, I'm going to change the shape again. If I press control B, bevel it off, and then what I'll do is I'll round them off this stamp. I'm going to change the shape like so and make it a little bit rounded like so. Now, I'm still not happy because I still would like this bit as well to be rounded off. What I can do is I can come in now, grab the back of it, and I'm going to press control B and round off that edge. Now you can see I went too far there so I'm just going to go back, control B and just be very careful as I bring those in. You don't want to bring them in basically where the crossover is what I'm saying. All right. Something like that looks absolutely fine. They are pretty much all sorts actually done now. So what I can do is I can grab them all, join them all together. I'm just thinking, probably not going to bevel these off there. They're so small that it's probably not worth beveling them off. Control J, let's join them all together. I'm just going to grab it with B, Control J. So, and then B and then Control J and then control. And you can see that look fantastic. All right. Now we've got them all. They're all actually joined, I messed up there. I need to come back. Actually, I don't know why that actually happened the way it did. Yeah. I think it's because I grabbed them all. I'm going to press grab them all, Control J, grab the next one and then press B Control J. A bit of a silly mistake there, and then B Control J, and there we go. All right. Now let's turn them as though they're going the right way round once we've actually reset all the transform. Control or transforms directly. So origin geometry. Now let's spin them round. Rx 90, spin them all round, and there we go. All right. So there is our sorts looking pretty much like monster sorts, actually. Let's spin them round as well, AZ 90. I want to spin them around though individually. So let's form on individuals 90, like so. Now, let's put them where about, you know, in the rack they're going to go. Something, something like that, I think, and now I can actually start building my rack around them. So the first thing I'm going to do is I'm going to bring in the board that goes across here. So I've got my cursory, which should be fine. Once I've brought my cursor into the center then I'll use that to actually build off. So if I press shift a bring in a cube and you'll notice my cube again comes in a lot smaller because I've actually made it that way. And then what I'm going to do is I'm going to press S and y make it a little bit, then let's just pull it up. Interplace I want it basically going in slightly higher than the actual gods on there. Then I'm going to press S and X and pull them out like so. Then I'm going to make it a little bit thinner because I think this is still too thick. I basically want these hanging over. That's basically what we're looking for. If I grab this edge, bring it in. And then bring this one in as well. There you go, that's probably the way it's going to be. Then what I'll do is I'll just make it a little bit smaller. I think they're a little bit too big. Something like that. Now what I can do is I can actually use each of these sorts to make a indentation in here. If I press control, and let's bring three, four, something like that. Four left click, right click, press Control B then, and then what you want to do is you want to have it on two, which minus Luckily for me, two actually Maybe we can get away with putting it on. Let's put it on four. Yeah, let's put it on, sorry, three on three. And then what we can do is we can use that then to come into each of the top parts up here, and then we can bring those down. Like so, and then will be much much better way of doing it. Now, let's come to our first sad and we're just going to stick that in there, stick this one in there. That one is already in, and then finally this one in here. Now, let's just make sure that this one, for instance, is not hanging over there. It's a big one, let's bring it over like so. Then let's make sure that this one again is hanging over a little bit. So I'm just now placing them in, making sure that they're going to fit in properly, like so, and then the same with this one. Okay, so. And then finally this one. Like so. All right. Now, let's rotate them round so, rotate it round a bit, and then just pull it back. Same with this one, so rotates it. And then this one. And then finally this one, and so now you can see, really nice. All right. So Let's grab the center of here. We can probably use that. Yeah, I'm thinking probably the center of that. So we'll come in, we'll grab that shift to selected, grab our plank then, and then we can press shift and in fact, not shift. We can right set origins three D cursor. Now I'm going to do is just bring in a mirror. Come to my modifiers tab, add modifier. Let's bring in where is it mirror, and we're going to put it on the y, turn off the X. There we go. Now, let's carry on building this up then. I've got my cursor right in the center now, which is really good. I'm going to press in fact. If I've got this on here, I might as well press tab, and then what I can do is I can bring a cube, and I'm hoping it's not actually working. I was hoping they would go that side. What I'll do instead is, I'll just go back with control Ted. I was hoping just mirror it. I'm just going to apply that mirror. Then I'm going to do is, I'm just going to bring in a cube and I'll mirror it over once I've got this in place. But we can see it's going right bang in the center, which is really great. That's exactly what I want. S y bring it in. Like so, and then S and X, let's bring it that way. And now let's pull it off into place. So if I pull it off, let's say, probably a little bit lower than the swords. Something like that. Let's then level off the I don't really want to level off the edges yet because I mind actually putting an edge loop on the metal part. So we'll bring it down, and I'll show you what I mean. So I can bring it down, press one, two, let's say something Just under here, here, something like that. And then what we'll do is well press control of, bring it up then to something like that, and then control off, bring up another one to something like that. Then let's bring these out, so I'm going to press shift and click going round altern bring it out, make sure offset even is on, and there we go. All right. I'm happy with that. Now, let's bevel off the top of here. So if I come in, grab the top of here, like so, press control B and just bevel it off, so it's nice and round off like that. I think that looks really nice. All right, then, so that'll be it for this one. Let's go to file and save that out. And then what we'll do on the next one is we'll finish actually building this off for certain, and then we'll make a start on our actual shield, and we'll leave the helmet so last because it's actually one of the most fun to do. Alright, everyone, so hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 92. Creating a Simple Shield Prop: Welcome back to every one to Blender and Engine becoming a dungeon prop artist, and this is where we left off. All right. So now, let's actually put this over the other side, and then we're going to have a lot more to wear with. So if I grab this, I'm thinking of grabbing both of these pressing control A or transforms, right click origin geometry, grabbing this one, Shift S then, in fact. Okay. Let's not get ahead of ourselves. Grab this one, shift the selected. Now grab this one, and then we can control transform origin to three D curse. I'd like to say it's been a long day doing this, but it's not. I've actually just started, maybe maybe I'm a little bit rusty right now. Now let's move this over to the other side. So I add modifier. Let's bring in a mirror over the other side, and then let's put in a plank award going down the bottom. If I press shift d, let's bring in a cube that's going to come then right in the center. Let's press the S, press one so we can actually see what I'm doing. Press the S and X and then S and Z and then find that we can actually bring this. Into place, so the swords fit near enough on the bottom. Now you can see with this sword, it's actually sticking near enough in this. I'm just going to spin it around a little bit, and I'm just making sure they're in the right place. This now is near enough perfect, actually. I think I'm actually happy with how that looks. Now, let's think about some points on the bottom. Now, we've still got our mirror on this one. So what I can do is I can come into this. I can then press shift a bring in a cue and I can hopefully bring that over to the other side then. So bring it down. Like so, and then press S and head. Make it a little bit chunky because it's holding a fair amount of weight, a lot more than what you actually think, and then press S and y and pull it out, like so, then maybe pull it down a little bit just to the bottom of there maybe. I think actually what I'm going to do is I'm going to pull it down a little bit further. I'm going to come then to this part under here with base select and then pull that part down as well. So I think that just makes it look a lot better. Let's pull it all down now, something like that. All right. Let's press Shift S goes to selected. Let's bring in now another. S, bring it in. Pull it up here, like so, and then S and y, pull it in, bring it into place. Like so, and then finally bring this into place like so, bring it all I think, that's looking pretty nice. Now, let's press L and let's press S and X. You can see we're a little bit out there, but that's because we've based it on this point here. So that's why it's a little bit out where I think something like that looks fine. And what I can do now is press old shift and click Shift S, cursor to selected. Grab this part here, and then all you want to do is press the little sideways v3d cursor, and then shift D enters 180 and just spin it round to the other side. And there we go. That's in there now. All right. Now I'm going to press a little sideways V again, put it on individual origins. Now what I'm going to do is I'm going to grab all of this. I'm going to go up to object, convert to mesh, and there we go. Now, let's get it all joined together. Control J, G. Let's just make sure we've got everything and that then is near enough R D. Let's go to shape smooth, Autos move on. Let's then press control lay all transforms, right clip, set origins geometry. Now let's bring in a bevel and we'll turn that down all the way, turn it up one and then decide where we want this. 0.3. Let's put it on there. I think that is about, I think. I think that looks pretty good. All right. Finally, let's apply that. Let's come over, grab our bolt, shift, bring it over. Let's spin it around. R 90. Let's press one. Then what we're going to do is we're just going to drop that into place. In the right scale. So something, something like that. Let's then pull it back. Let's press dot, pull it back into place. Something like that. Then what I'm going to do now is I'm going to grab this shift to selected. Then what I'm going to do is I'm going to make sure that this orientation is in the center right click. Origin three D cursor and then add modify it, and we're going to bring in a mirror, maybe I can put it on both of those sides like so. There we go. All right, let's apply that, so control and then let's join it all together with Control J. And we're pretty much done. Now, the swords, let's come in and smooth them off. I don't think we can smooth them off altogether. So we'll right click shapes smooth, and then let's come and auto smooth each one of them. Like so like so. There we go. All right. That's the swords done. Now, we need to think about our actual shield. Let's come in and build a shield. The way I'm going to do this, I think I will use a cylinder. So we'll bring in a cylinder with an even number. So whatever you do, just make sure it's an even number. I can see. At the moment this is on 20. I think that should be okay for our shield. So what I'll do is I'll spin this round. So our 90. I'm going to press the S button. And what I'm going to do is just say it up, so it's about the right side. So if I bring this over to here, you can see Shield that sort of size looks about right. The other thing, of course, is we can join all of these together because they're not going to individual swords anywhere. I don't think. You might want to keep them separated, but I don't. I'm just going to grab all these. I'm going to then press Control J. I'm going to come to my cylinder and split it off. So LP selection split it off, and I'm going to actually shades move, and I'm going to to move on on this one, Automth that's done. I'm just making sure it's got no modifiers on which it has an as our shield now with autos move on. Now, why did I do that because I actually want to pull it up now. So you can see I've lost my orientation. Control A or transforms, clip Sargent geometry. Let's pull it up into place now. You can see that is where it's going to be. The one thing you can see is it's way way too big at the moment. Even the swords like a huge as well. So what I'm going to do is I'm just going to press one. I'm going to bring it down now with S and now I'm going to pull it over and just check out still it needs to be smaller. So I'm thinking, I don't know how it ended up so huge. But it did. I'm just going to bring it down and make sure it's the right size. I think there, that's much more manageable. I'm also looking at the sorts and I'm thinking if I turn this down, Yeah, I'm probably going to put this on 30. And before I finish, I'm going to just add in some shops because I think on the swords, especially, they're really going to need some shops on there. So I'm just going to right click mark some shops, and you can see already what's that's done. It just brings them out and makes them look so much better. So I'm just going in and adding some shops. I'm going to press control lead because I'm in face so mark shop. And then I'm just looking where else I need them. So I'm thinking, here, here, And I think actually that should be okay. So I'll just go in and grab one on here, ship click ship click ship click. And I'm just going to go actually round this here and here, like so. All right. Let's not mark a seat. Let's mark a shop. So Mark shop. There we go. All right. And they look at tomb Now I'm happy with those. Let's come back then to our shield. Now, the shield, I think Maybe it needs to be a little bit smaller, so something, something like that. And what I'm going to do is I'm not going to actually use this cylinder anyway. I'm just going to get rid of it. I'm going to grab the center of it. Shift D, like so, and I'm also I didn't pull that out properly as you can see. I'm also going to grab another one. Shift D, you're going to grab two of them. So two like this, and then I'm going to grab this L Clete faces. To deal with the first one is, I'm actually going to just delete this face. So delete, and only faces like so, and then I just want to fill this in. So shift click. Now, because I want them going up and down on here, better off to get rid of two of these. So if you get rid of two of these, like so, right click, and then you can just bridge edge loops like so. Now you can see they're going the right way. And now just fill in these. I'm just going to fill in these with F same on this one. Olshif click shift click F. And then what I'm going to do is just grab each one of these. I'm going to make this plank of wood. So right click and where is it? Mark There we go. Now, let's bring this part, and we're just going to bring it forward now, like so. And then one going to do is, I'm just going to grab it. I'm going to press the i borne, bringing it in, like so, and then obviously this is going to be the outside of the shield. It needs to probably be a little bit bigger. If I grab it, press one, press S, make it a little bit bigger. The other thing that you've got actually is if you press this born on here, you can actually see straight through it and still see the actual object, which is really, really handy to know. If you've got this, click this on, it's the X ray, it says togle X ray, and then you can actually work and see how much gap you've actually got. All right, let's turn that off. And then what I'm going to do is, I'm just going to grab the center of it and just pull it out a little bit like so, and then delete faces like so. Now, let's grab it and we're just going to pull this back now. So pull it back like so. And now finally, what I want to do is I want to bring these in. So I'm going to go Alt Shift click, grabbing it going all the way around, and then I'm going to press the eye button. I again and bring them in, so you can see that's looking really cool. Let's bring them into about that sort of shape, press the button then to pull them out. Then finally, just make sure you're on individual origins, press the S boon and just bring them in, and there you go. There is a really, really nice shield. All right. What we're going to do is just going to save it out and on the next one, we should actually get this shield finished. All right, everyone, so I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 93. Planning out the Helm Model: Welcome back every one to blender to Engine, become in a prop artist, and this is where we left off. Now, let's come in, and the first thing I want to do is sort out this wood because at the moment, it's not looking right, so we're just going to go L, L, L and L, every other one, press y. I'm also I think split this part off. LP selection separated out, come back to wood now A, and we're already on individual origin, so we should be able to just press SNX and bring that out like that. Now, when I'm doing a shield, what I tend to do is you can see the little gaps down there. We don't actually want them too much going down. SN x, just bring them a little bit closer together. We just want a little gap. And then what you want to do is you want to pull it back, pull it back, and then pull them back together. SN, pull them back together so that they're basically near enough touching like so. Even more than that, S pull them back together like so. Now we just don't want to see through that sheeld. Now I just want to press control A, all transforms. Click the origins geometry, and now I'm just going to pull that into place where it needs to go. Now, the one thing that you can see, Well, the problem we're going to have with this is the fact that they don't have any subdivisions. In other words, I want this shield to be a little bit rounded instead of where it looks like like now. So I'm going to do, I think is I'm going to come to this part, and I'm going to actually subdivide it. I'm going to go to modify ad and we're going to bring in a subdivision and we're going to put it on simple. Turn it up like four times. Press Control A, I'll run over it press tab and you should end up with something like that. Now, maybe maybe I've gone a little bit too far with that. Maybe I should have gone to let's go back again. Let's put it on three this time, press Control A. And I think something like that should be fine. Now, why ever done that? What I want to do is, I want to pull this out. So if I've grabbed the middle center of it, so you can see we've got three down here, three down here, three down here. And then what I want to do is pull this out. If I put this on proportion editing, I want to use the green, and what I want to do is expand this out and basically round it off. You can see now it's actually coming out and it's rounding it all off. Now just pull it back and you can see just what difference that actually makes it looks so much better like that. Now, while we're here, we might as well make it a little bit rougher as well. So if I bring in my randomize on the promotional editing, I'm going to grab one of them. I'm going to press one because I only want to move it sideways at the moment. Then I'm going to press G and just very, very gently move it a little bit. G again, very gently, and now you'll end up with something like that where it's a little bit uneven. Now, last of all, I just want to pull them out. A tiny, tiny fraction. I'm just going to grab this, pull them out, very slightly, and that then makes it a lot more even. Now, let's right click and shapes move and that is how you shields that actually as you can see looks a lot more realistic now. Finally, now with the shield, let's actually level these edges off because you can see, they don't actually look right. Now the problem is because we've brought in all of these actual what they call these inserts. I need to go down and press control because Blender for some reason, will not shift click anything that's got a triangle or anything like that, which these have. We're just going to have to go in and just control click all way around all the way like so. Let's do it on the top as well. So we're just going to control click. I'm not going to do the back right now. I'm going to come to the back in 1 second, so I'm just going to go around control click in all the way around like so. Then what I'm going to do is I'm going to press control B. Bring it in. And then I think I'm going to turn this down maybe even to one. Now I've got that. I'm going to press Control Z, and then control B and just bevel it off very, very gradually like so. All right. There we go. Now, we need to think about the back of the shield. You can see we've got some artifacts on here and here. All we need to do is we need to just come in with shift and click. Make sure we've got our random proportioning off. I'm just going to bring it out like so and then we're going to do the same thing. A shift click does work now, as you can see Control B, bring it back like so. All right. That's looking pretty cool. Now we need is just a back on the here. I'm going to c to the center. Let's see if we're in the center, which we are. Shift A, let's bring in a cube and where is my be cubes over there. I'm going to press delete, Shift S. In fact, I need to grab this first. Shift S, urslectd shift A, bring in a Q and there we go. Let's pull it back, and then all I'm going to do is I'm going to press S, and then S and y, make it thinner, pull it back over here. And then I'm going to pull it out, S and X. Maybe even a little bit further. S first, so let's make it a little bit thinner, like so, and then S and X, let's pull it out a little bit further. Then all I'm going to do is I'm going to press control two left click right click, S and X, pull them out with medium point, S and X, and then control B, pull them out. Like so. And now, finally, we should be able to bend those out, like so. And that is actually the kind of look they're actually going for. Now I'm going to do is, I'm just going to fit that into just a place like here, something like that. I'm going to then grab each one of these and just make it a little bit thinner, a little bit too fat at the moment, I think, so I'm just going to grab it going there in a little bit. Now let's bring in the parts that are going to hold it together. I'm going to press Shift S because it's a selected tab shift A and then let's bring in a cube. Let's make the cube smaller, bring it into place just in that wood there. Let's press S ands then and then let's grab this face and pull it back until we're happy with it. Grab it, pull it back to something like that. Let's grab it again with L, pull it into place like so. All right. I'm happy with that. I just want to make sure that it's going Yeah. I think going back to that is much better actually. Now, I just want to probably level off these edges. I'm going to come in, see what it looks like with a level of edges, so Control B, and there we go. Yeah, that's fine because it's only the back of the shield anyway. I'm just going to move it a little bit over and see it still a little bit out, something like that. Now what I'll do is I use this, right click. In fact, control all transforms set origins geometry. Set origin, three D cursor, add modifier, bring in a mirror, and there we go. Let's press control. Let's just bring in our bolts now. I'm just going to probably grab a bolt off up here. L shift D, and then P selection, and then let's spin it around. Control A all transforms, click origin geometry, hundred 80. Let's spin it around Control one, can we go to the back of it? Think I'm probably going to have to hide this bed out of the way. Then I'm just going to bring it up, press the S born bring it into place, then I'm just going to line it where it needs to go. I'm going to pull it all the way in, press the dot born, zoom in. And there we go. All right. Control one again. Let's go to the back of it, and then what we're going to do is we're going to press Shift D, bring it down. Join them both together. Control J and finally, shift D, bring them over. Put them into place here, and then join all of this together once we've made sure that there are no modifiers on. Basically, I'm just going to come in, grab it all like so. I'm going to go to object, convert mesh, Control J, control A, A transforms rightly, origin geometry. Now finally, I'm just going to shades move. Shades move, make sure tops move is on, and there we go. There is a shield actually done. Now I'm just going to come and put my shield into place. I'm going to turn it round, so, Z, turn it around, like so, and then just move it over and then and Y I think it'll be like so, and let's just stand it up against there. Don't want it going into the floor, I just want it stood against there right against that post. I'm going to pull it back actually a little bit and then move it right against that post like so. All right. That's looking pretty nice. Now, the shield I will actually keep separate from the weapons. Just because I think you might want to use a shield somewhere else. But yeah, I think I'm happy with that. All right. The next one then is, we need to create the actual helmet. Now, to do that, we're actually going to use our actual guy, and we're going to actually kind of as you see on him. He has some very nice topology already on him, which we can actually use to create a really, really nice helmet. So we're going to do that on the next one. For now, we'll just go to file. We'll save it. I'll see on the next and everyone. Thanks a lot. Bye bye. 94. Adding Details to the Helm Prop: Welcome back, everyone to blending and becoming a dungeon prop artist, and this is where we left off. Now, let's come in. Now, on our reference, you can see that the actual helmet is a little bit hard to see. So pretty much you'll have to stick with what I'm going on this or create your own natural helmet. What I'm going to do is, first of all, I'm going to grab by shading smooth. No idea why he's got to smooth, but it might be a little bit easier to see what you do without that on. I'm just going to turn that off. Then what I'm going to do now is I'm going to basically split this in half, so I'm going to come to him. Oh click right click and I'm going to marker seem. That's straight down the end edge of him. Now I'm going to do is I'm basically going to create my actual helmet from here. I'm thinking. First of all, the nose part is going to probably go round the eyes over here, get rid of that. Let's go maybe several. Maybe round here, you can see round to here, and then down to here we'll make a good part of this. Down to here, going across to here, and then maybe up like so, and then maybe we'll follow it now round. If we go, let's say round to here, and then round and all the way round. What I want to do is basically merge those two there. I'm going to go down all the way just behind the here, so something like that, and then all the way around to the end. Now if I right click and I mark a scene, that is how our helm should look like. Now if I press, you can see basically, you've got the first bits to actually how it's going to look. All right. I'm happy with that. What I'll do now is I'll press it. And I'll bring it out, and then I'll press P selection, tab, and there we go. Now, let's come in and grab these bits because they don't look right as you can see. So what I'll do is I'll grab these two, then this one, then this one and then right click. You can also press m as well that will also merge so you can merge them at the center, as you can see, and now you can see, it's still not looking right, so let's bring it down a little bit, so now you can see it just looks a to better. All right. Now what you want to do is one up a min. So I'm just going to grab any one of the center points. Shift S, cursor selected, re grab it then. Control A, all transforms, right click, set origin to geometry. Sorry, set origin, 23d cursor. Add modifier, bring in a mirror. There we go. There is your helm nearly done. I'm just going to move it back there. Now, what I want to do is I want to give this some actual solidify basically before I do anything else. What I'm looking at though here is I'm not happy with this whole part here, how it's actually coming up. Now is a good time if you want to change it to actually change it. I'm thinking that I should have gone up probably to roundabout here because we've got a little bit of bend in the back of there. So we can fix that. What we'll do is we'll come to here. And then sorry, to here. Who I don't know how I managed to grab that, but I'm just going to grab it again, drop it in there. Then I'll I think. I want it going across here and then down all the way to there. I think that's what I'm going to do. I'm just going to shift like those maxin then I want to put a cut going across here. I'm just going to press K. And just drop one over there, enter, and then right click Amcocy there we go. Now I'm going to get rid of this. L delete faces, and there we go. That is what we're left with. And I think that's actually. Yeah, I think that's looking a little bit better. All right, so I'm happy with that. Now, let's bring in some solidify. So what we'll do is we'll apply our modify it. In fact, will we apply and modify it. Maybe maybe it's better off with modifier stacking on this one because we are going to be pulling that out as well. Let's actually add in our solidify while we're here, solidify. Okay. Let's right click and what we'll do is, I think actually we can shade smooth and still put it on auto smooth. Yeah, we can. Now we've got a good idea of how thick we want it. So that's really, really too thick. We don't want it that thick. Maybe something like that thickness. Now, let's actually think about our actual helmre we can come and we can grab, let's say from where do we want it. Let's say maybe maybe from here. Something like that going up. If we grab four of these, you can see it's going to be massive, so we don't want that. We just want to grab one, going all the way down to the back here. Then all I'm going to do is press each enter AlternS and hopefully bring it out like so. Now you can see that we are going to get some problems with the actual join in the center. We want to actually join those. All I'm going to do is I'm going to press shift and click. Just grab them both, and then all I'm going to do is make sure that my clipping is on. And now you'll see, bring these out and pull them together, it should have seal them together like so. Now the reason you've still got that line there, by the way, is because inside there, you've got some faces, so we'll need to actually get rid of those to make this actually work properly. All right. Now let's do the actual nose parts. I'm going to do is I'm going to come down to here. And then what I'm going to do is, I'm just going to simply pull those out like so. There you go, you can see that's looking really nice. Now, let's come and think about this part on here, a little bit more where the actual temples are. If I grab it going down to here, Maybe actually all the way down, so I'm going to grab it all the way down to here, here and here, and then I'm just going to pull those out. Okay. Now I need the bit that goes probably around here. Now, the point is around this bit though, you can see that we've got a straight bit going there, but no going in here. What I'll do is I'll come in, press K and put a straight bit on there precent then what I want to do is I just want to subdivide that. Right click and where is it subdivide? Now I can actually lift that up a little bit. If I lift that up. Now you'll see we've got a much nicer edge going round. It's more rounded as you can see. Now finally, let's just join those together with J. Grab these two as well. J. Now what we can do is we can come in and grab this going in all the way. I think actually I will delete that. I think I'm going to delete that phase. Delete phase. I think that just looks better, then I'm going to grab it going all the way around here and all the way around here to that point there. Then I'm just going to press and you can see, I moved that. I didn't want to do that. What I want to do is I want to press and just pull it out. I'm just going to press, and then I'm going to just going to press alternS and C can actually pull that out just a fraction like so. Even that might be a little bit too much, but let's have a lot. Actually, that's going to that's going to look fine. All right. I'm happy with that. Now what we want to do is basically, we want to actually apply all these things. Just make sure first of all, that you actually happy with this looks. I think I'm happy with that mine looks. I'm going to come in. Now, what you can do is you can just apply all at the same time as I said, better off. If you are applying it with one by one, just make sure you always start from the top one. We'll do it that way instead. We'll just apply on this side. All we do is press control a control. Now, you will see if I go the other way, so control I apply it from the solidify and then apply it from the mirror, you can see I end up with problems in there. That's not what you want. You always apply the modifiers from the top. Control control and there you go. Now, let's hide this going all the way around. So when I grab this face, all the way around to here, like so, hide them out the way, and you can see now what I'm actually talking about. Can you see this on the inside of here. This is what we've actually caused and we don't actually want that. So what I'm going to do instead is I should. Let's think about this. I'll grab them going all the way from there all the way down to here with control click. So I'm just going to control click all the way down. Control click, and then control click all the way down, ship click and then control click all the way over H for hide, and this is what we're left with now. This is the things that we need to actually get rid of because you can see we've got this in here. It's this part here that we need to get rid of. This chunk in is in here is fine. We don't need to do anything with that. All we need to do though is get rid of this flat plane on here. Delete faces and now press tag. That line is still there, by the way, because we have a line here. Now, if you press tab, that line has gone and you can see it's nice and smooth. Eccept this part over here. Let's come in and see what's called hide it out the way, and you can see have missed one. Elet faces tag ide it the way, tab, and there you go. Nice and clean mesh for you. All right. That's really nice now. Let's just right click shades Mo. Let's make sure auto smooth is on. And then what we'll do on the next one is, we'll just do a little bit of beveling on this and we'll leave it actually. Well, we'll bring it over. What I tend to do, by the way, when a made helmet is, then I'll make it bigger because it just makes it look so much better. You can see if he's putting this on and you know, perfectly the right size to his head, it's actually not going to fit. Not to mention the fact the swords and the shield, they are actually pretty stylized. I'm just going to put it over here. And once I've got that kind of man on, which we're going to do as well on the next one, then we can actually start bringing in some textures and things like that. All right, everyone, so I hope you enjoyed that and I'll see in the next one. Thanks a lot. Bye bye. 95. Texturing our Weapons: Okay. Welcome back, everyone to blend to under a gon becoming a dungeon prop artist, and this is where we left it off. Now, the first thing I want to do is bring in that main. So what I'm going to do is, I think I'll grab it from here, going all the way around to here, and then all I'm going to do is I'm going to press to Alter AlterS and bring it out, and you can see, I've got some problems bringing out like that. So let's try bringing out with the S. Yeah and that's much better. That's exactly what we want. Now the thing is at the moment it looks very type of a roman. Do you want that? I don't think, so what I'm going to do is, I'm just going to bring it up like that and I think that's perfect. That's absolutely perfect, the way that we want to. All right. So now let's come in and just level a few of these edges off. So I'm going to come in, grabbing it going all the way around there, all the way around here, and maybe maybe let's try leveling it off on there as well. I'm just going to grab both of those. I'm going to press control B, pull it out very, very slightly, and you can see we are going to have a few problems. Now, those problems might be caused by the fact that I haven't reset the transform, so control. All transforms right set origin try or they might be due to the fact that I've got this here. Let's have a go again. You can see now they are coming in properly, but that is trying to bend with it. So I don't really want that. So I do is just take off those. Then I'm going to do is press Control B and just level it off now nicely so you can see that looks a bet. You might also be able to get away with shift click Shift click. Press control B, very tiny bit on there. Yeah that just adds to it, so that's even better. Now, let's do the actual nose press control B. Let's get away with this one. I just level it off, very slightly. Now I'm going to do is I think, I'll also level this off, going in all the way down to maybe down to there, so I'll do the same thing on this one. I'm thinking this nose, this nose. Let's go all the way around all the way around two here. Now, let's press control B. Bevel that off slightly, like so, and you can see that looks really nice. Now we can see that we've got a bit of a long on these bits. I'm just going to grab them both and I'm just going to try and pull them back just to make it a lot smooth There we go. This is looking really nice. Now, let's come in. And what we'll do is we'll bevel off this part now. So if I come in, shift click and just go all the way around. You can see that we've got a problem here because this part is split from this part. I'll do act this part first. I'll shift click this one. Just come to this one. Remember, we don't actually have a min now, so we have to actually do these independently. We'll do this one first, all the way around to here. So make sure you've got it on that one. When a press control be bevel it off, just a tiny bit. So so. Now let's do the main bit. Slick shift click. We should be able to get it going all the way pretty much round to the other side, which is great. Then ship click, ship click and there we go. I don't want to level this part off in here. I've not grabbed it on both of those. And now I want to do is just press control Bpfully we should be able to level that off very slightly. Like so, and that is looking very nice, better than the first one I built actually for a long shot. All right, I'm happy with how that looks now. I'm not really going to do anything else with it. What I'm going to do now is actually start adding in my textures. Now, with these sorts, we have to think what we actually want, what textures we want. So let's go to our materials panel. Let's also save it out. Now we've actually done that. So let it load up again as I said, the more texture you have it, the more you're going to need file, save. Now, also going to open up my textures panel, so it's where is it textures? I'm going to actually it is, bring it over. I'm just making sure that on the court download pack on the textures, I'm just making sure which ones we've actually got. I think I'm just making sure basically that we've used them all because we should have at this point used everything. So leather parchment, level one, the rope. The rope is the only one that we've not used. Weapon on. So we can see that we have one called weapon on. I don't think we've used that one, have a look. Yeah, I don't think we've used this one, so we're going to actually use that one. That's why I wanted to check. So let's have a look. Let's duplicate this shift D. Let's come over then. And what we'll do is minus this off. We'll click new and we'll call it weapon then we'll go over to our shading panel. It's important on this that we actually give it a lot of shines. We just need to make sure that when this loads up that we bring control shift. Let's bring in the weapon on first. Somos going to go down near the bomb. So we've got a weapon on and bring all of these in so. Click the principal, press the dot board, and hopefully that should take over. This is what I'm looking at to see you can see this shine on here. It's nearly like the silver. That's exactly as it should be. All that is nicely set off for us now. Now, let's go back to modeling. Then what we can do is we can now press tab and go to our weapons. We've already got some textures on here, as you can see. We've got stylized wood on dot which is fine. I, I don't think we actually need that one. I'll minus that one off. We've got on old, which is this one here, which is fine. All we need now is we need the weapon on. We also need this here, which is the grips. I think they're called leather strap, plus down arrow leather straps. Like so. And then we also need. We could use the iron old. I'll also bring in. I'll see what others we've got. So let's click plus down arrow. Let's put an iron and we should have one that's called, so we've got rain. Let's try the rain. All right. So we'll first of all, start with one of these sorts. So I'm just going to come in. I'm going to first of all grab this one down here. I'm going to pressure you. Smart UV project, click. And what I'm going to do is I'm going to sign the weapon on. So click a sign That's not the right one. Click a sign. Is it? There we go. Just looks a bit different from here. Let's put it onto render view. We'll have a quick look at it. Make sure we're happy with it. The thing is if it is going very slow for you, just put it onto EV instead, and then you're going to be able to see much, much better what you're doing. Let's zoom out a little bit. Jo tap the, there we go. You can see that looks really nice. All right, so I'm happy with that. I know I can get away with that. Now I'm going to do is let's bring in this part here. So Lumar UV project. Click leather straps, click a sign. Yeah, and also looks quite nice. I'm going to also though. So I'm going to have another leather. Ever leather want have a look at what leather worn looks like. I'm going to come in. P sine. Yeah, definitely not. I'm going to minus that one off. I'm going to make sure then that I've got the leather straps on. And then what I'm going to do is I'm going to go now to my UV editing. I'm going to make this a lot smaller because I think at the moment, it's a little bit too big. So if I press dot, press A, bring it in. S, now let's check it. Now you can see that looks absolutely right. Now, while I've got these, I might as well do these at the same time because I know I need to make them smaller. All I'm going to do is grab them all, smart UV project. Leather straps, click a sign, A to grab them all, S to bring them in, and then just check to make sure you're happy with them. You can see they look much, much better. All right. Back to modeling. I don't think, back to modeling. I'll make it a little bit easier. All right. Let's do the swords then. So I'm going to grab this, Smart UV project, click Okay, and then wap an iron, and then just work your way along. L Smart UV project, click Okay, sign and then just carry on. Smart UV project, click, sign there we go. Now, let's come up to the God or yeah the god. And what we're going to is. Smart UV project, click, let's try the IN gin. Let's give that try. See what that looks like. Let's try the in old sign. Then it's just a case of which one do you like best because I mean at the moment. I'm thinking that probably I like that one more than the other one. I think I like that one more than the other one. I think it looks more realistic. Let's also grab the hell. I'm going to also grab all of these and unwrap them all at the same time. Smart UV project, in or on grainy. Grainy thinks going to do for me. All right. I think I'm going to go with that. What I'm looking at is actually, is it the same as this, on I think that is the one with on old on. Just grab one of these? Yeah, it is. I'm going to go with the other one actually. It's going to be gray Let's have that one, so I'm just going to grab them all again. So And then on grain. Click a sign. All right. Now, let's come in, what we'll do is we'll grab all of these and we're going to wrap them all together. So, then we'll have a really good idea of what this is going to look like, so Um UV project, k Stylize, what, make sure they're all assigned, and of course, we need to turn them all round. UV editing, let's grab them, let it load up. There we go, A 90, spin them all round tab. Double top the eight and there we go. Really, really nice. So you can see they've come out really good. All right, so I'm really happy with how they are. Now, let's go back to Modeling and then on the next one, we should be able to get all of these finished off pretty much. I'm hoping we get more finished off. I'm sure we will be able to. All right, everyone, hope you enjoy that. Let's come to file, save it out, and I'll see you on the next on. Thanks. Bye bye. 96. Troubleshooting Decal Issues: Welcome back everyone to blended Tony Egon becoming a dungeon prop artist. And this is where we left off. All right. Let's come to our shield, first of all, and what we'll do is we'll grab all of the inside of it first. So actually, I must have resealed the transformers anyway, so I'm just going to grab all of the inside of it. So that part and then this part here and I'm going to press you and smart UV project, and we're going to make sure it's on stylized wood. Of course, it would be going the wrong way around. So let's go to UV it's in and might actually have a look and see if the course wood works better on this. It may do. Let's press a 90, spin it all the way around. Press the tab, let's have a look what that looks like. Now, let's bring in our course wood as well. Pick the down arrow wood, and then you're going to find the one that says course tab, a sign, and just have a look what that looks like. It might be I think actually, it's going to work better. The one thing I can see as though, I think it needs to be a bit bigger. Yeah, I think that is going to work so much better than the other would. I just think it looks better. Once we've got the melon come in now and portar. Let's try iron grainy first, plus iron down arrow, iron. Green, this one here, let's pick a sign and we'll wrap it as well. Um UV project, have a look at that. Then instead of that, I'm also going to try out my weapon. Down arrow weapon on t sine. Yeah. And that looks. That looks much, much better like that. All right. I'm happy with that. Now what I want to do is I want to come round to the back, and I'm going to put this. These two here, not that L on this one. Smart UV project. Okay. Let's put it on in grainy click a sign. Now finally, let's grab this and I'm going to click Smart UV project, click Okay. Click my plus one, and I'm going to click the down and I'm looking for leather. Straps, like so, and I'm going to click the sign. There we go. Now, let's make these smaller. I'm going to bring them right in. There we go. That's looking really good. Now onto the actual helm. The helm first part of it is really easy. What I'm going to do is I'm going to minus off all these because there's way way too many on that. Then one way to do is going to click the down arrow and we'll go for the weapon one, weapon on, like so, and then let's just grab everything wrap. No wrap Smart U V. There we go. There you go. There is the helmet. Now the thing is we need this part on here, which is going to be completely different. For that, let's go back to modeling. Then what I'm going to do, probably just going to make a new material and bring it in on this. Let's have a look. We'll call it what should we call it helmet top, or helmet feather. Let's call it that. Plus new helmet then what I'm going to do now, I'm going to go to my shading panel. I'm going to wait for it to open up. I'm going to click on it Control Shift T, and what I'm going to do is go back and I'm looking for, where is it helmet? There is it Dungeon feather helmet. All right. Here we go. Let's bring this in and we'll bring in all of these, this and more importantly, the opacity and let's bring them in. Let's go now over to our actual helm. What I'm going to do is I'm going to grab just this part here. L grab it, and then what we'll do is press a sign and we can see that it's not working too well at the moment. What I need to do now is I need to basically unwrap this. I think if I click wrap, I'm thinking, let's go back to our UV editing now. And all we need to do now is just place this in the right place. So let's go back. I'm going to put this onto and need the feather. So it's not actually going to be named, so I just need to find it, so which ones are going to be under. Let me just check which one it is actually going to be under because we have a lot of materials in here now. So if I go, to my default material base color, and it's a little bit of a pink one, I think. Let's just keep scrolling down. I don't think it's that one, let's just keep going. It might actually there it is. It's this one here you can see. Now I can grab this and then just spin it around. Spin it around. G, let's put it into place, and now let's have a look at what that looks like. I'm thinking that a It's not quite going in the right place, so I'm just going to pull it out, pull it out over here. Like so. And now I should to get that look in going round like this. All right. So what I'm going to do, I'm going to also increase the size right here. I'm going to grab this going up to here, not that way. Go up to here and here. Now what you can do is you can actually g and pull it out a little bit more like so and make it a little bit better. All right, we've still got the actual look I'm looking for. It's a It's not quite bright enough for what I'm looking for. The other thing is, of course, that the way that it's going actually round this is making it quite difficult. So what I should do instead is, I should press tab, press three to go inside view. And what I'm going to do is I'm going to click and project from view instead. And now I'm going to do is, I'm just going to rotate that round. So rotate it round, S, make it a little bit bigger, and now it should fit, at least it should fit a little bit better. I'm going to press S, pull it out a little bit more like so. And now let's have a look at that. And you can see now that's been a ton to bear. All right. So now we need to do is we just need to make it maybe a little bit brighter than where it is at the moment because it's certainly not brighter. So let's go into our shading panel. Let it load up and let's make this a little bit brighter. First of all, let's position ourselves in the right place. Something like that. I also as well, let's even get away with putting this on EV just for now. It might make it a little bit easier. Now you can see how that's going to actually fit, which actually makes it easier if I put it on EV in our actual material pan first of all, let's make it a little bit brighter. And the way we're going to do that is we're basically going to bring this down like so. I'm going to drop in the Let's drop in a gamma. Drop that in. Then all I'm going to do is I'm going to put this back on cycles now because I'm going to go and do the EV part when I want to pull this out. I'm going to go back to cycles. Then one I'm going to do is going to turn this gamma down. When I turn this cama down, it's going to really bring out this actual. Let's come in. Turn this down you can see now it's going to really bring that out. Now, I'm thinking as well that maybe Okay. Maybe I want to turn it down a little bit more. No, not quite that. Something like that. I also think that I need to mess around with the colors. Let's bring the colors out a little bit. So if they search. And what we're going to do is we're going to look for a we'll try Gamma first. We'll bring a gamer in and we'll see if that does anything to the color. There we go. We can bring it up a little bit like so. Then what we'll do is, in fact, yeah, that's okay. Then what we'll do is we'll bring in U in saturation. U and saturation. We'll drop that in there, and then I'll bring my saturation up to make it much much redder. I'll bring my value to really make it really fluff it out a little bit. I'll bring the look I think that's about we're going to get with that. Then finally, we'll bring in a curve. Let's bring in a curve. GB curve drop in there, and now we have control over how dark we actually want it. So I think something like that. Yeah, that looks really, really nice. All right. Now, the one thing that we need to do is, first of all, we need to get these so the spikes in the right place. And we can see is cut off here and that doesn't actually look right, so we don't want that. So what we're going to do is we're going to go back now to our UV editing. And then what we're going to do is we're going to pull these out. I'm going to let it load up and I'm going to go to the side view with three. And then what I'm going to do is I'm going to put map proportion it down, make sure it's on smooth like so. And then what I'm going to do is we're going to come over to one like this and start pulling the map. If I pull out this one, you can see now I can really start getting that into the place I want to be very careful because you'll end up with some on here, and you don't actually want that. Now, let's come to the back of it. Now the thing is with the back, As you can see, I can get that into a really beautiful place now, exactly where I want it. Now, we don't want this on here, but we have a little trick to actually get rid of those. Now, the front of it, can I actually bring it a little bit further down, so, think I'm happy with that. All right. Now, I don't want these bits on here. I don't want these bits on here. I'm going to press tab and just have a look at that. I'm happy with the rest of it. I don't want this on here. What I'm going to do now is I'm just going to put this onto material onto material, and we should be able to when it loads up, see those materials quite easily. Now I should be able to go in and actually select them and just cut these little bits out that I don't actually want. That's the best way. Let's come in and what we'll do is we'll go to here, so I'm going to press k and I'm going to come to here. I'm going to hold control because I actually want to cut it out so so I'm just going to work my way. Along and just cut out the bits that I don't actually want in there. Control, control. Control, merge my way along. I think I don't want that in there as well. So I'm going to zoom in a little bit more. See if I'm going to actually cut that out. Yes, I can. So I'm going to put it up here. Work my way along I think actually on that one. That's pretty much done. I'm going to put it to there, press the enter button, and then I'm going to come, I think I'll actually see mark a seam on there. No, I can't. I'll come back to that. I'll do this one now. Get rid of this. Then come around. I think, we'll just get rid of more. I think we might as well. I'm just going to hold the bond down the control bond, get rid of more, and then we'll do this one here. Because if we're doing it, we might as well do it right anyway, so and then this one here just a little error going over when we actually creating these. But it's got that you'll know how to fix it just in case you have that error yourself. Then finally, let's have a look down to here. Let's get rid of this. We really don't want that. And press the son, and then let's come in with face let, grab this face. Let's go and grab all of the ones that have created now as you can see, all of these, T one, T one here. You work way along more. This I have, this one here, this one here, and then all the way down to here, let and faces. Now let's see what that actually looks like. If I press tab, go back now to my end view. Let it load up double tap the e. There you go. Perfect. As you can see, that looks really, really nice. All right. So that's the helm dump. Now what we need to do is we're just going to go put it back on material, save it out, and that is the end of this lesson, and I'll see you on the next one every on. Thanks a lot. Bye bye. 97. Starting the Rope Geometry Node: Welcome back, everyone to Blender and Unreal, becoming a dungeon artist, and this is where we left it off. All right. So now let's go back to modeling. S as we've done that. This helmet, by the way, it looks so amazing. I'm really, really happy with it. Now, let's put that on onto here. Let's turn it over a little bit. So, y, spin it round. And then, making sure it's not so straight, double tap the e and there we go. Okay, let's come in then and name this. This will be the weapons rack. So for press call this weapons. Right. Like so. Then I can come to my shield. So I'll call a shield so and then helmet so got helmet so All right. So now let's go up and we'll just make one that's actually called weapons rack. So I'll come down, double click it weapons. And then what I'll do is I'll actually select all of these with B and then grab them and drop them in my weapons rack. And now I'm just going to as I've got them all right pli markers assets. Now, let's go finally over to the asset manager and we'll put in actually won't put anything in because they're all different. I'll have to do is I'll have to go and search I can see one there, one there. And then I'm just looking for the weapons R which is this one here, and then I can finally drop those into my props we should have quite a range of props here, as you can see, to bring into your own dungeons or your own designs and things like that. Once we've done this, we will actually make sure that we go through everything and put them in our into our props. So at the moment I can see there might be something missing. I can't see another book the other bookcases there. We've probably got some missing though, so we're probably going to have to put those in. By the way, I have no idea why some of them come in with no textures on or anything like that. It could be simply down to the fact if I go to my books, over here, you can see that they're not actually got these aren't done, so you can see if I grab this one. So right click and mark as asset on the actual material. It might just be down to the actual materials. So could just be that. So I'll have to go through each one, making sure each is done. But that's all the case for tiding everything up once we're done. All right. So the next thing now I want to do is, I just want to close all of these up because now we're actually on to basically the final actual model. So if I close all theel like so, Then what I'll do is I'll come to my modeling. The first thing I want to do is just put these into some nice place somewhere, so probably over here. Let's just grab them all. Let's pull them back. I don't know why that's actually there, but that's why it's there because I had my books grabbed at the same time. So let's grab them individually. Let's pull them back then into a nice place. Something like that looks cool. Double tap the e. And there we go. We can sort out how they look as well once we've actually finished with this. Now the next thing I want to do is, I just want to check my normals before. So let's come in face orientation normals, and then let's come in and we'll grab all of these. So just grab all of these. Press the tab shift spin them all around, like so, and they should be fine. Except obviously this is so this will have to be a double sided texture because we don't want to give any depth to this because it's just one plane bit like the decals and things like that. So take that onboard. So now let's come down face orientation. Let's go to file and save it. All right. So now, let's actually get rid of this one, and what we're going to do is bring in my new reference, which will be. Let's bring in a new reference, which will be these and it is. Let's find it. It's the guillotine and the rag. Let's open this up. This is the one that we're going to create next. Now, the first thing you'll see is we've got a lot of blood on here that we already know to do that. The one thing you can also see in here though is rope. Now, we haven't done any rope, so I think the first thing we should do is actually starting to create a geometry node for rope. Again, once you've got this geometry node, like the actual chain, it's going to make it really easy then in the future to bring in rope because trust me, this geometry node for rope is really, really good. Let's actually put that on the other screen. Like so. And then what I'm going to do is I'm just going to put that down, and I'm going to bring in a curves. So I'm just going to move my guy over there, and then I'm going to press cursor to cursor to world origin, this one here, and I'm going to bring in a curve. If I bring in a curve, sorry, curve and bring in my curves. And this then I'll use to actually start the rode, and then I can put my geometry node on whatever curves I want to. Now, let's go over to our geometry node. We can see at the moment, we have chain and now we need to make a new one. Now, I think if I click on that one, see it won't actually do anything. I have no idea why it works like that, but I need to click new. Once I click New, I'm going to call this rope Like so. And then what I'm going to do is I'm going to click that little shield on and now we know this is saved out. Now, let's zoom in a little bit, so you can see what I'm actually doing. Let's move the group output all the way over here. Again, with this rope exactly the same as a chain, I'm going to make it so that you are able to have all these options on the right hand side so that you can come in and basically do it all in the modeling window without actually going into your geometry node. Let's make a start on that. So the first thing I'm going to bring in is a resample curve. Let's press shift a search, resample curve. Basically what this is doing is it's basically doing what it says. It's resampling this curve. This then gives the ability to actually take each of these points along this curve, and that's why we're actually using it. If we drop this in here, you'll notice straight away it goes a little bit blocky, and then what we want to do is change the few of the options here, and this then will enable us further down the line to be able to twist our rope and things like that. Now what I'm going to do first of all, though, is going to change the count because I don't basically want it to count. I want it to basically be based on the length of whatever curve we're doing. This makes sure like with our chain, whenever I pull this out, this is going to basically be resampled. If I come down and put this on length like so, and then what I want to do because it's rope and not chain, I want a lot of points along here. I want the length to be something like Okay. No point, no one, something like that. All right. So now we've got a lot of points to play with. Now I want to do is want to bring in a curve radius. I want to tell Blender basically how much radius is on this actual curve. If we press shift a, we'll do a search and we'll go set curve radius. Come down this one here and just drop that one in there. Now, we don't want it to starve a meter because if we do that, as we saw, when we bring cubes and cylinders in and things like that, it's going to be absolutely huge and you're forever going to be going in then and the first thing you're going to do is turn down that radius. We don't want that. Let's say something low like no point to, something like that. Then what we're going to do is we're actually going to plug in one of these into our radius now. That then is going to give us our first option on the right hand side. Now, just so we're clear, we don't actually know what this is. It just says radius. Let's actually come in and rename this and we'll call it rope radius so now we know exactly what this is. Once we've got all this plugged in, we'll be able to turn this up and down and it'll change the actual radius or thickness of the actual rope or in our case, two pieces of rope because we're actually going to make two. Now, to make our rope, we're actually going to need some circles. Basically, that's what they made out of. We need circles and they're going to follow this um, all the way along. So to do that, all we're going to do is bring in something called a curve circle. Search curve, and then circle and you should have one that's called curve circle. And then what we're going to do is I'm actually going to duplicate this. Shift D duplicate it over. Now, you can see, we've got a radius of one on each of these and a resolution of 32. Now, I want to keep those there because I actually want it to come in with those sizes. But I also want to be able to turn down especially the resolution, because if not, you're going to end up with rope, if it's very long with millions of polygons. So we want to have the ability to turn it down and then decimate it. That's why you're actually having and these options on the right hand side, especially with resolution, and of course, with the radius. With the radius, though I want to be able to only turn one of the ropes down. You'll notice with a lot of rope. The second piece of rope that's intertwining is sometimes a little bit thinner. Especially if you're looking at jungle vines and things like that, the second piece of rope is always going to be very thin because this GO node, you don't actually have to use it as rope, you can also actually use it as vines. It actually looks pretty good as that as well. Okay. So now let's plug in another input and we'll put that into the actual resolution. So we'll plug it into both of them. And now, when over there on the right hand side, as you can see. Once I turn one of these ropes interlocking ropes down, it's going to automatically turn the other one down, and that is why I've joined them back. That is why I've joined them basically together. Now, let's grab we need a radius. So you can see here we've got resolution below there. We're going to grab this one. We're going to drop it in the bottom one, and that's going to give us another one on the right hand side. And what I want to do is I want to put this as second rope radius, like so. Now we know exactly what that is. And now it's going to turn down that second rope. So the first rope is going to stay the same. The second rope is going to make it a lot. What you can do, actually, you could put in another one, bring it to here and put first rope radius, then you have control over both of the ropes. I don't think it's necessary to actually have that. At this stage now, you can see exactly what we've got. We've gone through everything. You should have a good understanding now what we're doing. And now we're simply going to save it out, like so. Alright, so I'll see on the next one, everyone. I hope you enjoyed that. I hope you learned a lot. We're nearly coming to the end now of the actual blender modeling part of the course. So I'm sure at this point, you've learned a lot of stuff. Alright, everyone. Bye bye. Thank you. 98. Realizing Instances & Decimation: Okay. Welcome back, everyone to Blender and re Engine becoming a dungeon prop artist, and this is where we left off. Exactly where we left off in the GO notes. Let's move this one a little bit over, and now we'll just carry on building this geometry note. Now, what also makes more sense to me is if I move the second row radius up to the second spot. And the reason is we've got rote radius so we can change the rote radius overall. Then we change the second row radius, and finally, then we change the actual resolution. We also need to change a twist as well, but we'll talk about that a little bit later on. So let's pull it up to second place now, and then it just makes a lot more sense. We want to do is want to bring in a transform. The reason we want to do that at the moment, we've got two circles together, and they're both overlapping. What we need to do is make sure that one circle is slightly away from the other circle and then we can start twisting them. Well, first of all, we need to make sure in space, this circle is away from the other ones. The way we're going to do that is with a transform. Shift search, transform. Like so. Then what I'm going to do is I'm going to grab this second one, plug it into my geometry, and all the I'm going to do is the x. I'm just going to move it to 1 meter, something like that. Now you can imagine two circles sat at the side of each other. Then basically as we go down here, we're going to follow this, and now we need to do is actually twist them around each other. Near enough, we've got our actual geometry now. Now you can also imagine at the moment, if I go and plug this into my group output, I'm only going to have one circle. What I need to do is actually have transformed this and now I need to join them back together. I'm going to do is I'm going to go and search for join geometry, like so. Then we're going to plug this into the bottom, this into the top, and now you can see that, hey, we've got both joined together again. Pretty much now what we want to do is actually tilt these around. We want to tilt them around, going around in each other like road wood. Lokily for us, we actually have a no called tilt. Let's put tilt in and we should have set curve tilt, this one here. We're just going to drop that in there. And then all we need to do now is set this up so that all of these actual ropes, they're not only following this actual curve, they're actually intertwining in each other, and that's why we've got this curve tilt. The way we're going to do this tilt, first of all, we're just going to put these a little bit further down. And then what I'm going to do is I'm going to bring in a math node. Search, bring in a math. And what I want to do is I want to put this map to divide. We don't want to add them together to divide them up, and that's the way we're actually going to make them intertwined around each other. So if I put this onto divide. So what I want to bring in now is an index for one of these. And that basically is going to tell blender each part where it needs to be divided. So shift a search index, like so and bring that in, and just drop that in there. What I want to do is I want to grab my index and I want to drop it into this one here. I also then want to grab my group input. This bottom one here, I'm going to drop that into the bottom of that. Now, what I want to call this is actually twist, not till twist. Instead of value, I'm going to call it twist. This is important because the longer the rope goes, the more or less twist you're going to actually have. You just need to make sure that this is set to the right amount. There won't ever be a right amount unless you're happy with it basically. So there's no point actually changing any of these to bring in a default value or anything like that. Now, what I want to do is I actually want to bring the twist up near enough to the top. I want it above there. I'm basically going to move it, not that one down there. On rote radius, then the twist, then the second rote radius and finally, the resolution. Now, I'm just going to plug in I'm not actually going to do that. I'm going to first of all bring in a transform. Let's bring in a transform. Drop that in there. Now with the transform, let's set the translation, the top one on the x 2.5. Basically, I've moved this one by 1 meter and now moving every single one of them by 0.5. That's what we're actually doing with this. They both joined now, so you can imagine going up, up, up, like so. Let's join it with the geometry node to the transform now. All right. So now let's plug the value of this into the tilt, and then what we're going to do is curve to match now. Basically, we want to turn all of this now. Into mesh. All we're going to do is shift a search curve to mesh. Okay. Then all I want to do is first of all, I want the profile curve, which is going to come from both of these curves and the transform and things like that. That's going to go in there. Then the actual curve. The actual is going to come from the set curve tt. We're going to plug that into this curve here. I should look something like this. I'm just going to go across just in case you missed anything, and then I'm going to zoom out now and yours should look exactly like that. All right, now let's into this bit, and we'll finish this off. So last of all, we want to realize instance, to be able to turn this again into mesh if we want to. So I'm going to press shift day. I'm going to bring in I think realize instances, this one here. I'm going to drop this into here, and then finally drop this into my geometry. And there we go. There is your actual rope. Now at the moment, it looks a bit iffy, and that is because this twist value, which is what I talked about, if you bring this down or up, as you can see, bring it up, Really far, you'll see now you've actually got a vine or something like that. Let's bring it down the other way actually and I'll show you the other way. Let's bring it down the other way and bring it together like so. I'm just looking that looks a little bit eiffy. Let's bring the rope radius up or down, bring it up. I think it's because the second row radius is a little bit too low at the moment. Let's go in and just make sure this is correct. I'm just going to we've actually made a little bit of a bobo thing, and let's fix that. The reason is is because I said this to 0.5. It needs to be -0.5. Let's put that on center, and there we go. Now it's going to look bet. Let's actually just leave the other way because I want to actually bring in another curve now and give it a test. Shift A, let's bring in a curve bezier. Then we're going to click new, click the down now and put it onto rote. That's what I'm looking for. Now it's going to look a lot better now. It looks a bit heavier right now. But if we turn this twist down holding the Shift bar, Now you can see, Walla, we have rope. All right. Just make sure you turn yours down. I don't know actually why I missed that, but I did, anyway. Now the thing is, you can actually come along. The same with your chain. If I grab this, I can press G and it'll pull it out. I can press and it'll pull out more rote for me. I've got the ability to move it, change it, things like that. I can change the radius, so I can make it really thick. Now, if you change the rote radius, all you need to do is mess around with a twist, bring it either down or up, I think it's going to be up on this one. So bring it up like so. The other thing you'll have is because it's joined. Just be careful where it actually bends so you can see here, if you've got a bit of an extreme bend, it will actually twist a little bit like so, like so. All right. So as you can see, so now we're able to twist it around. All right, so there we go. And finally, now, let's turn down the second radius. So as you can see, you can make really nice binds with it or something like that, and you can turn down the resolution. And don't go too low with the resolution, can see that I can probably get away with something like ten. Then finally, what we can do is we can actually come up to object, and then we can go to convert and convert to mesh, and you can see this is the kind of mesh you're going to get. Now, the best thing of all is, if you've just made this is you can come over now and go to your decimate 8,600. Let's put it on something like 0.2. You can see that that rope now, even at 2000 2,800 still looks pretty good. Let's put it on 0.1. So you can get away with that. 1542 still looks pretty good. Can we put it on 0.5 and we can probably just get away with something like that, which is 807 polygons, control and there we go. There is your actual rope low poly rope, really. Now, let's leave it out of the way. Let's now come over and go back to modeling and let's save it out. And then on the next one, we'll actually start building up our stocks and our guile, and then we've got our rope actually where we can bring it in. But you can see now, if you want to bring that rope into another blender that you're working on, just go to pen and that pen the rope because we've saved it out as well with the actual sheeld. Now let's go to file. Let's save it out, and I'll see on the next and every one. Thanks a lot. Bye bye. 99. Creating the Rack Base Mesh: Welcome back everyone to blend on unreal, becoming a dungeon prop artist, and this is where we left off. All right. So the ones you're going to need now is going to be your guillotine and your actual stretcher. We're not going to put the blood on these, as I said, if you want to put that blood on, you're free to do so. I think the first one we'll start is the actual stretcher. It's a little bit easier than the guillotine, so we'll start with this one. I'm just going to put this over the left hand side, and then let's make a start on it. Now, the thing is with the stretcher. Remember that the first one we'll bring in is a flame. That's going to come in the center. I'm going to bring my guy over. I'm going to spin him around then. So RX 90 doesn't matter which way it's facing. And, and then what I'll do is I'll actually will Z hundred 80. Let's spin around the right way. So, 180. I just might be a bit better to visualize it. So if I bring him down there now, you can see, he's no way going to need he doesn't need to line a bed or anything like that. So let's bring it in with S and X, something like that. Bearing in mind, his arms are going to be outstretched. So his legs are going to be fine roundabout here because basically you want to have some chains that are going to come to his legs. So maybe even a little bit up. The chains have to be quite short. Now, the arms, you can see, are going to be probably up here somewhere, stretching away. Let's come in. Grab the top of here and pull it up without portion of ing on all the way up to something like that. The point is on this, what's the word? It's harder to visualize how long you actually need this. It's going to be much longer than you think you need this, actually. And we're even going to put it there and the reason is you've also got the rope chains that are going to come down. My maybe a little bit less, something like that, it's going to be absolutely fine. I think also it is looking a little bit thin, but we are going to have some pieces of wood on here. I'm going to do is, I'm just going to pull them out just very slightly. Something like that, and that's more or less trying to fit in with the rest of what we've got here. All right. So now let's grab our guy. Press Altar is going to put him back to where he was, and then we're just going to set him on the ground plane again, like so. And now we've got our stretcher. Now, how far up do we need to bring it? I think something like that is going to be kind of the right height, should be pretty low anyway. Something like that. I think should be absolutely fine. All right. So let's make our planks of wood. With the stretcher as well, I do want to put some variations in it. So the first thing we're going to do is control. Let's bring in Left click, right click. I brought in nine edge loops. It's up to avenue, bring it. Right click. Let's mark a scene. Control, then bring in a few edge loops, four, left click, right click, and then let's split these off. G, just to make sure they are A, and then let's just come in and put it on individual origins, and y and bring them in. Now I'm going to do is I'm going to pull them out a little bit with proportional edits in. Pretty much the same stuff has been doing all the way through the course, seven to 12 at the top. I'm going to grab one of them, like so, and then I'm going to pull it back. I'm going to bring this mouse all the way out. Pull it back so very gently. Then on this one, so very gently. Then all I'm going to do is I'm actually going to as well, lift them up, so like so. Now, because we've got some boards going down the side, we don't need to pull these out or anything like that. They are going to be the point that we do next once we've pulled these out. I'm going to press tab, I'm going to come in. I'm going to put this on object mode so I can see what I'm doing. I'm also going to make sure my cavities are on. Just make sure your z It's just much easier to see. Now, let's grab them all. Let's press and let's pull it down like so, something like that, and you can see already they're looking pretty nice. All right. Now let's bring in these boards that are I going to come on each side of here. I'm going to one, I think, two, first of all, we'll put some in the top. I'll grab it, control A or transforms, right clicks the origins geometry. Shift S, cursor to selected Shift A, bring in a cube, and then I'm just going to bring my cube up to here, like so. I'm going to press the S born, shrink it down a little bit and bring it in like so, and then I'm going to press S and X and pull it out. To maybe something, something like that. I think that looks perfect. Now, let's think about putting this over the other side. We might as well just copy it over the other side. So shift D, bring it over, drop it in place, and then I'm going to press seven, just to make sure I've no any gaps down there. I don't really want to you might want a little tiny bit of a gap like that and then like so. All right. Now let's bring in another board. So I'm going to press shift A, let's bring in the cube. Let's make this smaller. Let's pull it out as well. S and y, pull it all the way out. Jaw stop to where these are touching enough, and then pull it in, like so, and it should be so you can see the boards there. Basically, this is there to hold this part in here as you'll see. Now we've got this here. Now, let's mirror this over the other side. So if I right, play Sargent three Dcursor bring in a mirror, and let's put it over the other side like that looks perfect. Now, let's think about the bottom parts of this. What I'm going to do is Think, I'm going to grab one of these, so the bottom off here, I'm going to pull it up a little bit like so. Then what I'm going to do is I'm going to put another board underneath here. I'm going to press s I'll actually use this. I I press shifts A, I'll bring in a cube. If I move this to the side, there we go. That's exactly what I want. Now, let's press S and Z, bring it down, pull it down then to something like that, so we've got that little sliver. And then what we're going to do is pull it up like so. Then finally, we'll pull it over like so. Now, if I grab the whole thing, and what I'm going to do is I'm going to press S and y, pull it over. To here just again, just so it fits in and now finally I can come in and bring these down. I'm going to bring both of these down at the same time, so grab this one and this one, bring it down to something like that. You can see now it's all fit in together. Now, the one thing you might want to do is just bring this side in just a little bit, so you can see it looks better that way. Now, we do need there's no point like putting some boards like going this way, doesn't make any sense. What you would really do is you just bring in one more board, a e in a bit like the center point to hold it all together, like the spine kind of like having a bed or something like that. Let's process and y, bring it out. Right to the end. Then what we'll do is we'll just pull it up, so grab the bottom of it, pull it up, and there we go. Now, that is pretty much secure. Everything is done, and the only reason I put that underneath is just in case, you might want to have it broken and twisted over, so you might as well just have that in there just in case. All right. Now let's start with the bottom part of the stretcher. What we'll do is we'll press shift A. We'll bring in a Q. I'm going to bring it over here and basically I want it to come up from this part here, something like that. Now, what I'm also going to do is I'm going to miror this straight over. Right click, origin, three D cursor, and modify it, bring in a mirror, and there we go. And now let's bring it up a little bit higher, something like that. And then we'll bring the bottom down to the ground plane, which you can see this is way off the ground plane. So what I might as well do is just grab it all. I'm going to press one and I can see now how it would be. If I bring this up, I would say probably to there would be okay. Maybe maybe a little bit higher, so let's bring it up. Yeah, something like that. He's going to struggle again on that. Maybe that's a little bit too high. So what I'll do is I'll just come in, bring the bottom. What we'll do now is we'll get the base on here first. If I grab this, shift, Kura selected, shift A, let's bring in another Q Now, what we'll do is we'll bring this out, press S and Z, bring it down. And then what we'll do is try and level this up now. So if I put this on the ground plane, I can see that's where round that everything's going to be. Now, we are going to need to make this fairly secure because they're going to be there's a lot of pressure on this, you know, pulling on someone's limbs like that. So we need to now pull this out. So what I'm going to do is I'm going to pull this out to here. That's also pulling the other one out, as you can see, and now I'm just going to strengthen this out a little bit. So I'm going to press Shift A, bring in another e, I'm going to bring that out to here, press the borne, press t and y, then what I'm going to do is we're going to grab this, pull it up and then pull it out just to give you some strength. On the front of here, then I'm going to put some bolts in. Now at the moment, I need to bring in this one, so I'm just going to put this on X ray and then just pull this out a little bit like so maybe a little bit too far so and then just turn the X ray off and there we go, we still got enough room for some actual bolts. Finally, then, before we finish this lesson, let's bring in one more Again, I'm going to press S, Custer selected to bring in the middle. Shift A, bring in another cube, and let's bring it over here and just strengthen out this bottom so we can see S and then S and Z, like so, and then S and X, pull it out, and then just drop that in place. Is that going to be strong enough to hold down there? I think maybe maybe it is maybe a little bit thicker, S and Z just pull it out a little bit more, double tap the a and there we go. All right. That looks a great, great start to our beginning Except one more. Let's bring in this one. And what we'll do is we'll just press it deep. I'm going to bring that up and that fits in perfectly there. I'm going to drop it down. Just just below there, and then I'm going to grab the top of it. I'm going to pull that up to there so this base is going to be where we actually attach the chains and things like that. All right. Let's go up, save out our file, and I'll see you on the next and every one. Thanks a lot. Bye bye. 100. Working with Boolean Modifier: Welcome back everyone to Blender and on your engine becoming a dungeon prop artist, and this is where we left it off. All right. Now, let's actually probably. Let's just steal one of these because if I steal one of these, it will enable me then to keep that actual mirror on there. If I press D, bring it over, it will also enable me to kind of put it in the right place where I want it. Now the thing about the top is I'm probably going to want these a bit maybe a bit, going to grab this one and pull it to there. I'm also going to make sure. Well, it is the same length down, so that's good. We've got that on there. I'm just looking to make sure that I'm happy with how this is coming together. I'm thinking probably is probably going to need a little bit more strengthening, let's say, I'm thinking on this one, this top of here maybe should be metal or something like that. Let's press tab. Let's press control, bring it up. And then this bit on the top here, we'll just make it so it's actually metal. If I press and pull that out, I think that's just going to work a little bit better. All right. So with this one here, now we've got this, we need to obviously raise these up a little bit. So if I grab this, I'm going to raise it, and then what I'm going to do is now, I'm going to press Shift A. Let's bring in now a cylinder. I'm going to leave it on 20. I'm going to spin it around, so y 90, make it smaller. And it needs to be quite thick. That's the thing. It needs to be relatively thick to be able to be turned. If I press S and y and x, let's pull it out, like so. I also think that I should probably bevel off each of these. If I bring it right up to the side or a could actually just use this to actually bevel. I think we'll do that way. I think what we'll do is we'll come in to each of these sides. I'm thinking as well. I'm just going to move it a little bit, just more into the center, like so. And then what I'll do is I'll press, bring them in, and we can't really see there, so we're just going to put our x ray on again, and now we can see perfectly through there. And then what we're going to do is I'm going to press S and X and pull them out. Again, not pull it out, put it on medium points, S and X, pull them out, not quite that far. So Sx something, something like that. Now we can actually use that as our base. So what I'm going to do now I got it going all the way out there. So I can come back to this, take off my x ray, and then I'm going to add in another modifier, so adding modifier, and this time, we'll add in a boolean. It might not work correctly because we haven't reset our transform. So let's just see if it does. So first of all, we're going to come in, grab this boolean. And then I'm going to actually apply that. Apply that. Plan modify result may not be as expected. Let's have a look see if it's worked. So we press S. Actually, it has worked. So that's really good. Now what we want to do is we want to make this smaller. If I come in, grab this one and this one, press control plus and add just one to make them a little bit smaller. I think I can press old t and make it a little bit smaller in that way. You can see now that what I'm looking for is just to get that slight hole there. Now I can do is I can grab the whole thing. And just bring it down very, very slightly, now you can see this is how it's going to turn, so you can see in there that's looking pretty nice. Now that the way, you can see that all that has done for us now, it's worked correctly. That's really cool. All right. Now we need to do is we need to put on some handles on here. So what I'm going to do is I'm going to grab each one of these. And then what I'm going to do is I'm going to press S, and I don't want to bring them out like that. I want them to come out on their own individual origins. S bring them out like so. I want it very small because I want this to be a bit of metal basically. So again, and now we need to bring it back on medium point, S and X, and there we go, we can pull them out like so. All right. Now we need another metal bit and then something holding this all together. Rather than keep working in this way, what I'm going to do is I've got my orientation right in the center. I'll just press Shift S, cursor to selected. Hopefully. Where's that go? I don't know why I've got that one selected over there. Shift S, cursor to selected. There we go. No idea how the weapons got over there. I'm just looking to make sure that all of that is okay. I'm just going to Yeah, that's not where I wanted it. I want it there. And I'm just going to zoom in and just make sure that that's all okay. I think it is. I don't think we've altered anything too much. Yeah. Okay. All right. Let's come back then. And then what we'll do is we'll bring in another cylinder now. So Shi Da, let's bring in a cylinder and we'll spin this round. So R y 90, make it smaller. And then what we're going to do, I think is I'll make it a little bit smaller on this end. So I'm going to press S and X, bring it in. So I'm just going to slot it in there then. And now we obviously need some actual handles coming off it. What I'm going to do is I'm actually going to base this orientation on here again, just to mirror it over. I'm also going to go over the top. I'm going to press dot, and I'm going to just push it up to where it needs to go, which is around there. And now I should be able to make the handles off it. Now, just make sure that this is not too big. The moment you're looking a little bit too big so I'm just going to make it a little bit smaller, I'm going to go over the top again. I can see that this is not in the middle of here. I'm going to go in now and just make sure that that is in the perfect position. Shift S, cursor to selected, and now you can see it's more in line. Now what I'm going to do is I'm going to move the orientation of this to this center. Right click Origin three D cursor. Now finally, let's move this to the center. Shift S, selection cursor, move it over. Let's put it over here now, so it's over there as you can see, something like that. Now finally let's click Set Origins three D cursor, so we can actually bring in our mirror again, so the mirror. I'm not sure where the mirror is gone. I might have to resert transforms. I think I do, control or transforms right clip set origin 23d cursor. All right. Now I've got two of these on and I don't actually want that, so I'm just going to turn off the y, turn on the x, and there we go. Now, let's make our handles. The way I'm going to make handles is I'm going to insert them first. I'm going to come in to Yeah. We'll do that first. So we'll go down to the sides, the bottom, the other side, like so, and we're going to press and insert. Now, you need to press again just in case they're going altogether like so, and then one mi press it at enter alternS and bring them out. I don't actually want them going out like this. They're way too thick at the moment. I actually want them going in, so I'm just going to put this on normal. Put this on the individual origins, press you can see that I just clicked off for it. I'm just going to click them all again. This one here. And then what I'm going to do is I'm just going to press S and y and just push them in L you can see now they look tons bad. All right. Can we flatten these off as well? Let's see if we can. I'm just going to press S flatten them off, and then we just need the actual handles on here. So all I'm going to press is tern. Can I do that? No, I can press S though and bring them out. That's okay. Now, Z, can I pull them up? No, because we need to be on medium points, so I'm going to press S's and you can see now that can only pull one off. I need to press S on its own, pull them up and now actually shape them. Now I can go in, put this back on individual origins and bring them in now you can see that's looking tons, tons bad. Now the thing is you can also see that these aren't right. Let's put it on global. Let we don't need to change this at the moment. What I need to do though is go in and just grab each one of these going all the way around. The reason I'm doing it is because I'm just going to level these off just to finish those handles off nicely. I'm going to level them to make them a little bit more rounded and press control be level them off. Maybe maybe switch up to two. That looks. That's the way that I'm looking going. All right. Now, we need to just make sure that all of this outside looks okay. So I'm going to come in. I'm going to grab this, I'm going to press I then what I'm going to do is, I'm going to press, and then I bring this in. To something like here, and then, like so. There you go. Now, we need something to hold this part onto it. What I'm going to do is I'm going to grab these. In fact, mine actually grab two of those. Yeah, we'll just grab them going all the way around. We won't get too sophisticated. I'll do is we'll just grab these. Then what I'm going to do is I'm going to press, bring them in, and then I want to pull them back now, so I'm going to pull them back like so. Then we're going to press enter, bring them out with medium point. And then I want to bring them all in now and then slot them in. So the way I'm going to do that is normal individual origins, S and Y, and then pull them back now. Now, because I'm on normal, it's going to make it if so I'll just pull it back on here, like so. All right. There you go. That is near enough. Our stretch are actually done. You can see we lost our bit of wood on here. Not sure when I lost that or how I lost it. Either way, I'll put that back in. Then all we need to do the next one is bring another piece of wood in here. Make sure we're happy with these handles, which I am, and then we can start bringing our rope in and our actual chains. All right. Let's go to file. Let's save it out and I'll see on the next one everyone. Thanks a lot. Bye bye. M. 101. Speeding up Workflow with Geometry Nodes: Welcome back, everyone to Blender and Unreal Engine becoming a prop artist, and this is where we left it off. Now, let's come in and figure out the bottoms first. Let's start out the bomb. So what I'm going to do is I'm going to grab this part here. I'm going to press L on it. I'm going to press 50, and I'm hoping it's mirrored over, so that's great. That's exactly what I wanted, and I'm going to make it probably a little bit bigger S and y. And also, I'm probably going to make this a little bit wider as well. So S and X, make it a little bit wider so it supports the actual top of it. Now, one thing I'm not happy about is probably this part, it's probably not chunky enough. So I'm going to grab it. I'm going to press shifting click Alt and just bring it out just a little bit, making it a little bit fatter, like so. All right, so I'm happy with that. Now, let's bring in these blocks. So first of all, I'm going to come to this part. I'm going to grab this top part. Shift S selected. Shift A, let's bring in a cube. Let's pull it out, and then I'm going to bring it in a little, S and y, like so, and then s and x like so, and then bring it up and bring it in. And then just put on our x ray so we can see through. I'm just going to pull it out. We're still going way way enough room for bolts on that side. That's great. And then I'm going to just turn it off. Now I'm going to do this. I'm going to grab this one. I'm going to pull it over to the other side, so it shift spin it around. So Z 180, like so, and then let's just slot it in this side as well. You see we've got not quite as much room on there, so I'll think well, I'll do it, I'll pick it up and then I'll come to the bottom of it, and then I'll pull that bom in. There we go. All right. Now, let's grab this one. With let's press shift D, let's bring it over. And then what I'll do for this one is, I'll just go quickly and again, and I'll pull this one out like so, and then turn that off. Tab the. All right. Now we need one more piece, which is going to be strengthening this bot part here. So what I'll do is I'll come to my center point, which should be on here, shift selected shift. Let's bring in a cube, and let's pull that cube down. Let's press S, pull it out and it needs to be quite chunky, this part anyway. Obviously not overlapping, but still chunky enough, like so. I'm thinking that's looking good. I'm thinking probably to pull it down a little bit and then just to grab it again, shift, bring it up, and this time, just have it popping under there and just going a little bit above this one. So a little bit above. Maybe a bit down, pull it in. Yeah. Something like that. I think to strengthen that b bit a little bit. All right. There we go. Now, we're pretty much done with this. All we want to do now is basically bring in our rope and our chains and things like that. What we'll do now is we'll just grab it all. We'll come over to object convert mesh, and then we'll grab the sense point, control J and then right click shade smooth. Also smooth on, and there we go. All right. We're nearly done with this. Now, let's bring in a circle. That's what I'm going to bring in first shift A, come down and I'll bring in a curve circle. What I'm going to do is, I'm not going to alter anything on this right hand side or anything like that. I'm just going to spin it around. 90. Now, I want my circle to be much smaller than that though, and I want it to be something like that, so I can actually play around with it. Like this. Now I'm going to do is I'm going to bring in now my geometry notes. If I click new, click the dot b, zoom over to it, put it onto rope, and there we go. Now, let's go back to modeling. Press the tabbon. Let's first of all, come over to a little spanner. Mores will change the rope radius to be maybe something like that. I think that's going to be chunky enough. Then you come down and you change the twist, as I've told you, make it a bit smaller first, so it actually goes on. And now you need to do is you just need to line these up. Now the thing is, you don't want these showing, first of all, line them up, bring the twist with the ship bond line them up near enough perfect. And then what you want to do is rotate this Rx rotate it to the back so you can't actually see the twist. I think it's under there now somewhere, and that's where you basically want to do. Now the next thing you want to do is you might want to turn down the resolution. Let's put the resolution on ten, something like that, and I think that's going to be a good start. And you also might want to bring down this small one. Like so. I think that's making it look a little bit better. Now we're going to one three on each side. So I'm going to move this over here. I'm going to press shift D, like so. I don't want these all being the same as you can see at the moment, they're all the same. So what I'll do is I'll press and next and just make them a little bit uneven. The actual texture is going to do a little bit of work for us. Let's just twist it on there, and then let's press Shift D, bring in another one. So and twist it on the y, so. Now, let's grab all three of these Shift D, bring them all over to the other side. And I think the best way to do this is probably just spin them round. So make sure I'm on medium point, 180, spin them round, and let's put them roughly in the same place. You can see now they're all kind of twisted that way. Don't really want that, so I'm just going to press and y, twist them back the other way, and there we go. That's looking really nice. Now we need some rope that's actually going to come down here towards these chains. So let's bring that in. So while there is I'll press shift A. I think we'll bring in a pump. Let's bring in a pump, O 90. Let's spin it around. Let's press the Spoon. And again, what I want to do is now inherit this modifier. Let's see if I can actually grab this and this and sorry, this one and this one with shift select control L, and what to do is copy modifiers. There we go, as easy as that. Because we copy modifiers as well, we've actually inherited all of the sizing and things like that. Now, just make sure that they are correct because sometimes you will find that because we brought in a path and there's more points along here, it might actually mess it up a little bit, so just make sure they actually happy with it. Now what I'm going to do is I'm going to grab both of these. I'm going to put this onto portion let it in onto smooth. Then one want to do is I'm going to bring in my mouse and bring it down like so, and just move those around. Now you can see, I'm moving the whole thing at the moment. I don't really want that. So what I'm going to do is just grab this one and then we're going to move it like so. All right. That's looking pretty nice. Now we need to just check the length of it, I think the lens fine. All we need now is just to move it over. Shift D, move it over, and I'm going to put it around there. Then one is I'm going to move both of these up and just make it G something like that and make it a little bit different. I also want to make sure that maybe this one, if I move it in a little bit. So just make it a little bit different than the other one. All right, so that's that. Now, let's come in and bring in a chain on the bottom because we've got that option now. So what I'm going to do is I'm going to press shift day I'm going to bring in actually, I'll do it, I'll just no won't. I was going to take this minus off the jump and bring in the chain. I think what I'll do is, I'll just press shift, bring in, let's have a look. We'll bring in the curve. We'll bring in a path. And then what I'll do is I'll spin this round. I'm going to make it smaller. I'm going to spin it round. So Z 90. I think if I go over the top, I really want it to be a lot small than that, so I'm going to bring it in. Something, something like that to start with. Yeah, a thing that'll be round about. Okay. All right. Now, let's go back to geometry node. And then what we're going to do is we're going to click New. Down arrow, and the one we want this time is going to be chain. Let's go back to modeling now because we have all the options on here, and here is our chain. Let's turn on the resolution first. Let's make them much, much bigger because the moment, they're tiny in comparison to the rope, so we need to make them much, much bigger. So we're going to go with chain radius. Let's turn that up. Let's turn up the chain thickness. And then what we'll do is we'll do the link distance. We'll move them away from each other so the interlock. And that's in Perfect. All right. Now we just need to turn down let's actually turn on the resolution. I want them a bit more rounded, and then the change stretch, I think we'll leave them rounded. We could turn this up, so they're longer, perhaps, but I think I'll leave it on one actually. I'll have them round. Then what I'm going to do is I'm just going to move this out a little bit. So you can see this is going in there, and then I'm going to bring these down. I'm going to grab both of these, press the G born, bring it out and just bring them down like so, and then I'm going to move them round like so. All right. Shift, bring it over. And then I'm going to move go for these. G, like so, and then G bring in the bring it in. Then one thing we just have to be careful of if we want them face in the same way, so you can see this one's facing the wrong way. So if I bring it back, there we go, and now that should be fine. Just making sure that they sat there okay. Yeah, I'm happy with that. Double tap the A and there we go. Now on the next lesson then all we need to do to finish this one off is actually make the buckles that are going to hold them together. I actually think that this one is harder than the guillotine actually working on this. I'm just going to go up to file, save it out, and there we go. All right, everyone. I hope you enjoyed that one, and I'll see on the next one. Thanks a lot. Bye bye. 102. Finishing the Rack Modeling: Welcome back, everyone to blender on Lumar engine, becoming a dungeon prop artist, and this is where we left off. Now, let's actually create our iron buckles not buckles but these straps that are going to go around them. Now these are made of metal. They're not made of leather or anything like that because they just wouldn't hold the amount of pressure they exerting on someone's body with just some leather straps. So what we'll do is we'll pressure. We're going to do this a really easy way. Cylinder. Let's make it the right size that we want it, so we're going to put it to something like that. I'm just going to get it so it's the right size. Now, the thing is for sizing, I could use these here because they are already the right size, so I will base it around this. I'm just going to go in. I can even just grab all of this, and then I can just press Shift D, bring it over, and then I can press P. Take a portion in P selection, and just split it up. Now I can just press control ale transforms rightly. So do into geometry. Shift S selection, curskpfset now I can bring that in an envelope at the sizing of it. So you can see here, this is the kind of scale. If I make this a little bit smaller, then, thing, that's roughly around the right size. Now I'm going to do is press S and Z, bring it in. I can delete this out the way. I don't need it anymore. Then finally, what I can do is now bring these in. I'm just going to grab the top and the bottom. And then I'm going to press, bring it in, right click loop tools bridge, there we go. Now, let's make the top of this, so I'm just going to grab all of these, like so, and then I'm going to press enter alternS bring that out. What I'm going to do while I've got these, I'm actually going to press the S board now. I'm just going to make sure I'm on medium point, bring them in a little bit, also because if I want to have this a different material, I might as well. Pot seam on here as well, right click and where is it? Mx. All right. On the front then, I just want another little piece. So we'll just have another one on here, so I'm just going to press. In fact, yeah, I'll do it that way, press In fact, what we need to do is reset transforms. Control A transforms, right, sag into geometry, and then we can press, bring it in, and then just pull them out so it looks like there's a little bit of a lock or something like that on there. All right, right click shapes move. Autos move on, and now we can just put these into place. I'm going to press seven, making sure it's in the right place. G, and then three, and then just bring it down. Like so and into place like so, and then just spin it around. So z move it around. G. Think we'll do is I'll also bring out a bit on here. So I like so and then pull it out, and then it looks as though that rope is going into that place. Now I can come back to my rope and just gently with a very small part on here, move it into where I want it to go. Something like that. The thing that looks absolutely fine. And say I need to pull it back a little bit. It's pull it back, move it into place. There we go, that looks perfect. All right. Now I need to do is just do the same for the other. I'm going to press Shift D. Bring it over. I'm going to rotate it round, so I'll Z. Then what I'm going to do is just try and put it into the place where the actual rope is. Something like that maybe, move it a little bit more. There we go. That's looking pretty cool. Now the chain bits, we use the same one. Shift, bring it over. And then we're going to spin it around. Z spin it around, and then we'll put the chain going into here, like so. Now with the bot ones, I'm probably going to pull this out a little bit further, so I'm just going to grab these, I'm going to put it onto normal and then just pull this out without portion then just pull them out if I can. S and pull them out like so. All right. So I'm happy with that. I can see that my chain now is going to go in there. It's a little bit out on this side. So let's pull them out a little bit further just to make it a little easier for us. S and X pull them out, and there we go. Now our chains actually fitting in there, much much nicer. All right. Let's just level off though these edges because I'm not happy with how they actually look. I'm just going to press control B. You can see it's not leveling off properly. So I'm just going to grab it Control A or transforms origins geometry, and finally now, control B, and now it should bevel off. Much nicer as long as I turned down my segments. So I'm just checking it. I think that's looking fine. All right. Now, let's grab this one. Shift D, bring it over, and then we're going to press R and Z so seven, go over the top, and then I'm just going to press G and put that one into place like so, and that looks really cool. Now, this one, we can see, it's a little bit close to our chain. So if we put it like that, just looks a lot there. Now I'm just going to double tap A and have a look at my work. And that looks really cool. Now, let's figure out First of all, we've done this part. We know this part is perfect, that's great. Let's come to these. We know these are all perfect, so that's great, so I can just join them all together with Control J, hide them out away, and now we've got our rope and chain. Let's first of all, come to our chain. Now, with our chain, we just need to go in, object, convert to mesh. Then if we go in, we can see these are pretty low polygon anyway, so that's okay. Let's just join them together with Control J, hide them out away. Now we can comb to our rope. Now with the rope, these are going to be fairly high polygon. What you might as well do is grab them all, like so, and we might as well come to object, convert to mesh, and then join them all together with control J. Now, you can see at the moment, they are 182,000 polygons. That's not what we want. We want to come in and we want to reduce that down. I'm going to go to decimate and you can see that it says 91,000 for some reason, it says $181,000. Let's bring it down to 0.5 press the enter button, and can we get away with that? That might be let's put it on shades move, that might be a little bit too little. Let's put it up to 0.1 because it is after all rope, it's going to be a little bit hard to get this down because there's a lot of interlocking and weaving here. Let's try 0.7. Try that. Let's try not 0.8. Let's bring it down a little bit, if we can. I'm still thinking that's probably try that 0.9 0.9, I think we can get away with that. So I'm going to apply that and then we're going to press tab, and that's what we're looking at now. So you can see now it's a 16,455 pos. It's high, and what you might want to do with something like this is probably read apologize the whole thing, to be honest with you. But you know sending it through Trell something or even having it in your actual in your blender, it's still going to be fine. Alright, so let's press Alt and bring everything back. And now, the last thing we can do is just join all this together. So if I press B, grab it all, press control J, join it all together, right click, shape move. Auto smooth. Make sure this is on 30 degrees. I think it's because you bring in a curve. It automatically sets it to 180, which is not good. We need to turn it up as you can see. And sometimes when you do that, You might end up, as you can see, with some jagged parts. Now, that's okay and some of it, I'm just going to turn it down and see where I can actually get it up to without losing too much of it. You can see if I turn up even fed we're going to lose all that. I don't mind a few jagged points on the rope. I just want to keep most of it flat. I think that's pretty much the happy medium I'm going to get. What I'm also going to do is because I forgot. I'm also just going to come in and sharpen all these edges. So I'm just going to come in and sharpen all of these edges. And the reason I'm doing that now is because I'm not actually, as far as yet, D the beveling on this. So I can just come in quickly grab all of these and separate them off and sharpen the edges not separate them off, but sharp I will separate them off actually because we need to we need to level them off and I don't really want to level that off. I'm going to press P selection, tab A, grab them all, and then control right click and mark shop there we go. All right. So they should be fine now. Now, you can see that on here, we don't actually want these sharps going all the way over here. What I'm going to do is and we're just going to grab one of them, and I'm going to go all the way Yeah. I'm just going to have to click on each one of these unfortunately and take them off that way because if I go across this side, it might mess them up. I'm just going to go down and see if you probably just press C as well. That might be easier, we'll do it that way, much easier. Then what I'll do is I'll right click and I'll clear the shops. Now press tab and you can see that back to either way. I'm going to leave the underneath. Now what I'll do is we'll press control again, or transforms origins geometry, adding a modifier bring in a bevel and we'll put this down to 0.3. And then we'll have a look, maybe a bit higher 0.5. Yeah, I think that's going to be okay. Control A, and now finally let's join it all together. Join all of this together with Control J, and there we go. G, make sure it's all together. There we go. That is looking fantastic. All right. On the next list and then what we'll do is we'll get all the materials on, including the rope and things like that. Then we can finally rename this, put in our asset manager, and then we're onto the final actual model, which is the actual guilt. All right, everyone, hope you enjoyed that. See on the next one. Thanks a lot. Bye bye. 103. Texturing the Rack Prop: Welcome back, everyone to Blender and engine becoming a dungeon prop artist, and this is where we left off. Let's put this onto material, and let's come in and actually give it some materials. I'll just let this load up. The other one we haven't got is rope, so we'll fix that. It. I think we have two types of rope as well, which is really nice. Okay. So there we go. All right. So now let's come in and check what materials is gone. I hasn't really got any materials on the moment. So what I think I'll do is I'll copy the materials from let's have a local. We've got anything with leather, got some pretty much all of them on here. I'm also wondering, do I need any bolts on this thing? I don't actually think so. What I think I need though, I, they're coming out of the mel anyway, so actually that's okay. So I think we'll leave it like that. What I'll do is, I think we will copy the materials probably from this. So we'll copy the materials from this one. Or yeah, this one here. So I'll do Control L and link materials, and there we go. All right. So now let's come in so you can see we've got wood dock and that's one base they're looking for. So the wood light I'm going to actually put on here. So I'm going to grab these L L L. So I wonder if in Lincoln materials twice. No actually sure about that. I'm going to assign them. I'm going to press, Smart UV project, click K, and then let's just go to vats and spin them round. So again, let this load up. I think it's going to be on rendered view, so I'm just going to put on material view, zoom in, and then we're going to press A 90, spin them round. There we go. All right. So now we've got those. Let's hide them out the way, and then what we'll do is we'll c to the rest of these parts and we'll put them onto the darker ones. We'll leave this one on the light because I'm going to change that one anyway. Then what I'm going to do is just grab the male, set this part up here. That's going to be the male part. I'm just going to grab the male, like so, like so, like so. And yet, that's looking pretty good. Then we'll do is smart UV project, click Okay, and then we're going to press A 90, spin them around, and let's check what they look like, and we can see I need to assign to the dark and there we go. That's really cool. All right. I'm happy with that. Now, let's see if I can actually link in another material. So if I grab this one, can I actually press control L and link materials? Yes, we can. We can do that as well. That's really good to know. Let's come into this one. Well, in fact, I just need to go back actually and I need to hide them Yeah, I need to hide them all out of the way except this one. I'm going to press Control L on this one. You can see it together is the issue. I'm going to press H to hide them all out of the way. I've got a few here as you can see that have actually missed. I'm going to wrap them again, to my UV project, and then a 90 spin them around, click a sign. Now we'll do this top one on here. I'll do is I'll come in and I'll grab just a top on here, press control plus a couple of times, and then I'll grab the front of it and I'll also grab the underneath of it with old shift click, hopefully. I'm going to have to go in, select each of those, which is a little bit of a pain, but It's the only thing we can do. And then what we'll do is we'll click a sign like so on the dark. There we go. All right. That's looking nice. Now, let's come in. Grabbing all of these with L L and L. Let's hide them out away. Now we'll come to this one here. I'm going to click L, grab it, Smart UV project. Let's see if I can join this up now with these ones. I'm going to press Control L link materials, come back to this one. Unfortunately, you can see what it's doing is, it's actually linking the materials and it is actually changing it, I think. It's not actually what I want. I'm going to press Control D, bring everything back. What I'll do instead is just stop being lazy, bring in, actually, what course is already on there. Yeah, I think I've got both actually. Yeah. I've actually clicked in them both. There we go. All right. Now, let's grab this, click the plus down arrow wood. Course, click a sign, and then just spin these round. A R 90, spin it around. There we go. All right. That's looking pretty cool. Now what we need is the handles. So let's bring in these handles. I'm going to basically have to grab all of these. I think I can grab going all the way around there. All shift click going all the way around, like so. Click the control plus. I'll take more down to the bot, click the plus button down arrow. We're looking for leather either leather straps or lever one up to you, which one you use. Click a sign. Click, click Smart UV project. Let's have a look at those they're looking pretty nice, I'm happy with those. Now I'm just going to go in and hide those out of the way. Now the next bit is probably going to be a little bit tricky just for the fact of how we built it. I think this, it's all part of the same thing. You can see that this in here needs to be melted. I'll do this bit first, this bit in here. I'll go Shift click Shift click Control plus. And we'll make it on a sign. There we go, and just see there now. Then what we'll do on this outside is this bit here wants to be metal and these parts want to be probably the wood. We'll do this. We'll go in, we'll grab it all, like so, and we'll hide these out of the way, and then the rest of it will give actually met. I'm not sure if these are rungs. I think we have been because you can see how they are actually not. Smart project. A 90, spin them around, hide them away. Now, let's come in and unwrap both of these. Smart UV project, click. And then what we're going to do now is we're just going to give them the onclick. Now, let's have a look so we can see that if I press tab, this is how to look at the moment, you can see that this is probably this bit here is probably going to be wood. This in here and this bit in the center is probably going to be wood. Let's do that. So we need this bit and this be in the center. What's the easiest way to do it? Probably coming from the back. Let's see if we can. Yeah. Perfect. We'll do that. We'll grab it from the bag and on this one. Control plus twice. There we go. That was actually easier than I thought. So what I'll do is I'll grab that and put it onto dark, click a sign. Then I'll just grab each of these dark where is it Darwood, click a sign, and then tab, and there we go. All right. Yeah, that I'm actually really happy with. Now, the rope, we don't actually have a rope, so what we'll do is we'll come to our materials. We'll grab this one, we'll pressure it D. I think there's two ropes. I'll minus this off, and I'll just click new and I'll call it rope for now, just to check. And then what we'll do is we'll go to shade in. And we'll open up our actual rope. Grab our principal control shift t. Let's click the arrow, and what we're looking for is rope. Let's do a search for rope. Done one, dng rope two. Let's click on this one. Can see that's that color. Let's do another rope two. I think I think they are different colors. So what we'll do is we'll bring in the rode one first. We'll bring in all of these, control these, bring them in, and we'll call this row one, of course, rode one, like so. Then we'll make another one. So if I zoom out back to my material, and let's just have a look see if they are different. I'll press dot. No. I have no idea why it's got opacity on there. No. But what I do know is I'm going to unplug it. I don't want opacity on there. For whatever reason that's on there doesn't actually look right. Yeah. We'll see what that looks like as we go through, but it definitely doesn't want the epacity on there. I'll there is I'll press shift. I'll bring in another one. This time, I will minus this off, and I'll call it rote two. Let's what that looks like. Again, we'll zoom out to our principle, Control Shift T and click arrow and we're looking for now rote two. Let's go down rote two is here. Maybe they're actually the same because I can't see any distinguishable difference. Principles, let's minus this Alpha off because we just don't need it. I'm looking ones going one way, as you can see, and one's going the other way. I believe I believe you can see, this one is slightly darker as you can see. All right, so that's good to know. Now, let's go back to I stretch it. Then what we'll do is we'll come into the ropes first, and we'll grab, let's say, this one, this one, this one. In fact, no, we won't do it like that. We'll actually mix them around. T one and this one and this one, this one, this one, this one and this one. Let's say that. Let's click Smart UV project. Okay. Let's come down plus arrow down arrow. And what we're looking for is rope, not blood, rope one. And let's the assign. And then let's press the tab one. There we go. I need to pull these out of thing. I don't think they're going to look too good like that. Not sure. Let's bring in the one, so let's hide them out of the way. And then all we need to do is now we should only be able to select the ones that we haven't selected before, so we can see pretty much these ones here. And we're going to have these as rope to. Smart UV project, click K plus new sorry let's take it down instead, rope and to click a sign, and let's have what they look like. There we go. And they're looking pretty nice. Actually, they look really good. All right. I'm really happy with those. Now, we just need these met parts. If I comb press tab again, and what I'll do this time is I will grab both of these, and I'm going to comb and grab both of these as well, and we're going to have these the dog metal. I do, click a sign. Hide those other the way, and then I can come in, grab all of these like so, and we'll have them the grainy. We'll click plus down arrow on, and we'll click the grainy then we're going to click a sign so then finally this chain. If I hide those out of the way, I'm thinking, can I actually grab just that? Yeah, I can. Then I'll just click Control plus just make sure I've got the mole. Then what I'm going to do now is the plus one and we'll click down and we'll go to iron again. And this time, we'll pick the inold and click the sign, and then I'll press tab, double tap the A and that's what you should be left with. And you can see it just looks a really, really nice asset. All right. What we'll do then on the next lesson is we'll bring in the bots because we haven't done that yet. And then that's that one done. We'll get it named into our asset manager, and finally, then we're on to the Guillotine. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 104. Starting the Guillotine Model: Welcome back everyone to blender an unreal becoming a dungeon prope then this is where we left off. Now, let's go back to our modeling. Everything's done on there except the bowl. So let's let's put it on he is on material. Let's press tag, bring everything back. And now let's come over to our little bowl and we'll use that again, as we've been doing all the way through. Two, put it on where we need them. Let's think about on this side, first of all, I think I'll have two on the front of the, bring them over, pull them all. S, bring them down a little bit further forward and then something like that. Now, if they're in the right place, but if I press seven, can I actually see through there with the Yeah, with that, maybe not. Maybe only if I do that and then still a little bit hard to see through there. What I can do though instead is, I can press Z wire frame, and now I can pretty much see through there. So if I press Shift D, together in the right place. You know what? I'm not going to do that. I'm just going to pre on solid. There you go. Now I can see what I'm doing. Control J. We'll just do the hard way. Let's press Shift D, bring them over to the other side. So, put them into place, and there we go. Let's join them all together. Control J, grab one of them, L Shift D, bring it over. Make sure it's on global because it was on normal. P selection, split it off, and now I'm going to do is right click the origin to geometry, and now should be able to move it over to the other part. So something like that is fitting in place, let's pull it up a little bit. Shift D. Join them both together with Control J and then Shift D, let's bring them over again up to here. Let's join everything together. Control J. Then finally, shift D, bring the over the other side. Like so. All right. Now, let's join everything together again, including this and this control join it all. G to make sure it's joined. Let's put it on material. That's a quick lo, what it looks like. Yeah. That's fine. Now, let's come with these. I'm just going to have one check. I'm thinking with this wood. A man wants to make it a little bit dark and I've got pretty much all of it on. Actually, I think it's fine. It's, maybe we will. Let's just quickly go to shading and just make this a little bit darker. I'm just going to go to my shading panel and I'm just going to use the curves. Just a quick curve. Just drop it in there, make them a little bit darker. Just so they look a little bit nicer. Let this load up when we've got to shading panel. There we go. Let's come to our stretcher. We'll go around here. We've got the so we'll come to this one, which will be the wood course. Then all I'll do is I've got this in here. Let's just pull these out a little bit, and this one here is the one we want, the one with the color. Search curve. Drop that in, and then all I'm going to do is bring it down, make it Tad darker. I'm also going to check those, and you can see they look better as well. Now it just all fits together, much, much better. All right. Let's go back to modeling. And then what we'll do is just name this. So we're going to call the next one guillotine and stretcher. I'm just going to press tab, Guilin, and stretch it. Let's G U L LON and Right. We'll call it right. It just makes it a little bit shorter. All right. We'll also call this rack as well. That's also going to make it a little bit shorter rather than calling it stretcher. Plus a stretcher, it could be something else as well. So let's drop that in there. Let's click Mark as I set, and now we'll just move that to where I want it. I'm thinking probably we've got enough this side. So let's just move it back to maybe something. You can see as well as I move that, it's moving really difficult along just because I clicked on my magnet there. So let's go over it and I think we can put it somewhere like that. Yeah. I think that should look absolutely fine. We can take a really, really nice render and pretty much get everything in there as you can see. Pretty much all of this, we can get in there with the way that we've set this up now. Imh with that McGiltin then can go on the back there. I'm thinking, yeah, maybe it can't, maybe, maybe. Maybe we have to move some of these and put the guillotine round here. If we are going to do that, that means then probably better offering the stretch a little bit further back. Guillotine round here, which means, we'll solve that our thing once we've done everything. We're nearly there now. So let's double tap the A and then what we'll do is again, shift S and cursor to world origin. All right, so we're onto the guillotine now. So It's a little bit more ornate than the rack that we just made. There aren't any change or anything like that. So it's a relatively simple thing. We've already built some stocks as well, so we know how to get the head shape in there. We could use our stocks as well. So I think what we'll do is we'll start with our stocks. I'm just going to press shift. I'm going to bring it over. And then what I'm going to do is just line it up to where I want it. Something like that. I'm not concerned about print out on the ground plane. What I want is this size in here. I just want this head part here as you can see. Can I Can I actually, it's probably not west's probably better off just making a new one. I'll do is I'll press Shift S, Custer selected, Shift A, and let's bring in a plane. Bring my plane up X 90, and let's make it smaller. And it's not going to hands in here. It's just a head because it's just line down. Basically, we can press S and X, pull it out, sensed, pull it down, and then something like that should be about right. All right. Now while we're here, let's press Shift S. Curse selected, shift, let's bring in a cylinder. Let's bring in a cylinder. Let's turn the cylinder down to something like 16 because we are going to use boli Let's press X 90, spin it round, and let's bring it in to where wanted, so we can see it's about right there. Then let's just press Sans. And I think actually, we'll keep it as a circle. I think it makes more sense on a gilttine. Now, the one thing we need to do is we can delete this out of the way now. And what we need to do is just put a halfway mark down our actual plane. So halfway left click, right, click. And now I'll do is we'll grab our plane, control. All transform click Sgeneometry. And now we're going to do is just bring in a Boolean. Boolean click on the cylinder, and there we go. Let's click it on fast. Let's apply that, and let's now get rid of this cylinder. All right. So that's the first part of this pretty much done. Now what I'm going to do is I'm going to split these off now, so I'm going to come in, press y, so they're actually split off, and then we're going to grab them both. I'm just going to pull them back a little bit. So there we go. Now, let's put in something that's going to hold these together. So we can press Shift D, bring in a cube. Make the cube a little bit smaller. I'm going to squish it in, S and y, squish it in a little bit, pull it out, like so, and then S and Z one going to do is, I think, I'll push this back a little bit. I'm just going to grab the top of it, push it back a little bit. I'm going to pre shift S because the selected. And then one to do is, I'm going to bring in now another cylinder. But I'm going to turn this cylinder down this time to probably. I want it to be a bolt basically, so maybe something like that. I think that's going to look okay. Then press S, and then I'll rotate it round. So x 90, rotate it round. And what I'm going to do is I'm going to pull this up. I'm going to press S and y, pull it up. Then just put it into place. I'll grab the top of it then. I'll press. You can see that didn't work out. Let's press that again. I It's still not going in like I want to do too. That's not how I wanted to go in. So I'm just going to press control. Grab it again. Control A, all transforms, right click Origin geometry. And now let's try. There we go. Now it's working properly. And then what we'll do is we'll just press and just pull the outline. So yeah, that looks bad. Alright, let's grab the whole thing, press shift D, bring it down then to the bottom without portions. I don't even know when I put that on. But either way. Let's come now back to this shift Sura selected, grab this and control. All transforms, right click the origin three D cursor add in a mirror. There we go. That's the first part of our guillotine actually done. Now the second part will be the actual blocks on here. You can see it's quite small in comparison to the rack. We'll do we're We'll press tab, we'll press shift A. We'll bring in another cube. Then what will happen is that'll love us in mirror that over there, which is great for us. Then what I can do is I can make this a little bit smaller. Bring it back, and I think that will be round about the right side. Now what I want to do is I want to bring this near enough all the way down to the ground. And it's going to be quite tall this because after all, it is guillotine. So if we put it up to something like that, I think that then should be round about the right size. Now we can see when it comes to lie down on this, it's going to be lying down pretty low down. I'm pretty sure that I'm going to have to bring this up. What I'm going to do is I'm going to grab this, and I'm going to separate P selection. And then what I'm going to do is grab these and grab this, and then I can bring them all to where I want it. I think that might be a little bit better than what we had it. All right, what we'll do is now we'll save it out, and then on the next one, we'll just carry on with the guiltinHpefully, within two or three lessons, that's it. We should have it fully completed, fully named everything all the textures on, and then we can actually move on to actually taking our renders and things like that. Finally, then at the end of this, what I'll do is I'll show you actually how to put all these into the center of the world, because if you're doing the bit where you're going to send it through to Unreal Engine, you will actually need to set that up in that way. All right, everyone. So I hope you enjoyed that, and I'll see you on the next one. Thanks a lot. Bye bye. 105. Bringing Structural Accuracy to the Mix: Welcome back to everyone to blend on your engine becoming a dungeon proaris and this is where we left off. Now, let's put it on object motor just so we can see what we're actually doing, much easier to see like that. Now let's press shift date and bring in a cube. Then what we'll do with this is it hasn't actually got planks on the guiltine as I say, it's a little bit more decorative than the other things. What I'm going to do is I'm just going to hold this just in front of it, and then I'm going to press S and Z, and then just bring it up so that the head will be lining straight in there, and then S and pull it out. And then just bring up the bottom now to bring it up. Like so. And now we just want to get the correct lens. We want to something like that. Remember, the head is going to be in there. So I bring him over, spinning round, so x 90, 180, spinning round seven put me in so you can see near enough he's going to pretty much fit on there anyway. That I think and maybe pull it out a little bit further so we'll just pull it out. Just a little bit further like so. All right. At just to get our guy back and then pull him over there like so. Now, let's create the bottom of here. What I'll do is, I'll grab this part here, and then they'll press, I think we do is I'll press control of bring in an edge loop near enough up to there. Then what I can do now is I can just bring it down from there. If I press E from here, and then I'll just grab each of these, and then I'll press and to alternS bring those out. Let's put it on offset even. You can see that this is not even and the reason is because we didn't set the transforms, than go back and just do that. I'm just going to actually put it in like that. All right. Now let's think about the bottom of here. I'll do is I'll bring in an cubed bring in a cube bring that down to there. Then what I'm going to do is going to bring you up and then S and y, bring it in. Something like that, not quite to the edge there, just a little bit further back. Then what I'm going to do is I'm going to bring you up now. Then we'll grab it all of it and then press S and g, pull it out near enough to to that, something like that. Now, at the moment, it is a little bit wide this, and I'm just wondering if I should bring in, I actually, I'm going to leave it. I think, I think I'm happy with the width of it. Just means I'm going to make it a little bit wider than the original. I could bring them in, but it's going to probably mess around with this. I'm thinking let's bring it in a little bit. Let's grab it and X. Bring it in a little bit, maybe like that. Now, because these are on a mirror, then I can just bring those in. They're not a problem. You can say bring those in like that. Okay. So near enough up to that. And then what I'll do is I'll bring these in because they're also in a mirror, so for press and bring those in. Then what I can do, finally, I can hide these out of the way. And hopefully, I might be able to even bring these in as well, which would be great if I could. Now the problem is, I need to bring them both in like so. I've grabbed them both, Prestg then what I'll do now is I could get away without even bringing them in, but I do want to bring them in. So I'll do is I just click on it. Put my x ray on, and then just press S and X and bring them in to the side, like so, and then take it off, and let's have a look at that. Now, I'm happy with how that looks now. It just looks so much better, much easier to work with as well. These things might be a little bit tall, so we've just got that to take into account. All right. So now let's bring down this part here. I'm going to press control, two left click, right click S and X, pull it out, like so. And then what I'm going to do is I'm going to pull this down. I'm going to press, pull it down. To probably down to there. So I'm going to press one. You can see this is where my ground plane is down to there, maybe a little bit. Then what I'm going to do is I'm going to press, pull it down, and then let's pull it out. I'll grab both of these sides. Like so. I'll press key and S and x, pull them out. I'm going to level these off. I'm going to come in, level the tops of those off, press control B, level them off. Give it another one, so it's two, it's as I say, a bit more ornamental on this, and then we'll come to the bottom. Now what I'll do is I'll press shift, ya selected shift A, bring in another cube, bring it down. S, bring it in. Bring it down, and then grab the bottom. Pull it up. Then finally, pull this out now, pull it out, so S to there, something like that. Now we just want the big bit that goes across. To do that instead, what I'm going to do now is I'm going to bring in the plank of wood on the bottom up here. I'll press you today. I'll come in, bring in a cube, and I'm just going to bring this over. I want this in the center of here. If I grab this post here, I should be able to do it from this side. I think I'll make it from actually. Let me just led the way. What I'll do instead is I'll come to the bottom up here. I'm just literally going to grab this press D, and then I can bring that out. I can press S, bring it out squarely, so then I can press, pull it down, finally, then I can pull it all the way over to here. If I pull this over to here, you can see this is exactly where it's going to go, and now we've got how actually long this part needs to be. That's why I'm actually doing that, and we're going enough room as well to put it in the other parts that we need. All right. Let's now think about coming to this part. I want to this. I'm just going to press D. Bring it down, and then I'll just pull it out a little bit. S and y, pull it out, and then S and X, pull it out to the ends, and now just drop it down. If I grab this, I'm going to drop it down now into where I need it. Now we'll just level off these other parts. So to level these off though, we'll just make it a little bit different. I'm going to grab these Crest control B and then just mess around with the shape. So s going to bring them in. I can see that these obviously are stuck out there. I'm not really happy with that, which means that probably better off just grabbing all of these, maybe. So let's see if we can grab all of the, in fact, easiest way actually shift and click going round here, and then we can just grab the bomb of it like so right click Marcin, grab the bomb with L, and then just pull it up and then just pull this one on. And then finally pull this one of, there you go. Nearly, now it's all fit in beautifully into place. Now I'm thinking that these planks are a little bit thick as well. If I bring them all from here because it's a mirror. There we go. All right. That's looking the way I want to. Now one thing is, I think these are a little bit too thick. I'm going to come in press L S and X, and bring them in. So now I think that's looking much better. Now, let's work on the bits that come off of here. So what I'll do is I'll bring my cursor to the center here, so shift, cursor to selected. Shift A, bring in a cube, bring the cube down, and then S then S and y, sorry, bring it out, something like that. I'm just thinking now I need to come out. Probably more so S that. Then just make these a little bit thicker. Like so. All right. That's looking really cool. Now, let's think about this section here. It's going to have to have something holding this in place near the bottom, under here, probably. So we'll have that going down. So what I'll do is again, I'll bring in and cube, so she bring in a cube. Now we'll bring this down and we want to fit this just before this part. I'm going to put it forward like so. I'm going to make sure that this bit is. I just want a little bit of a gap under there, as you can see, and then I just want to pull it back like so and then bring it up. Now I can grab it and pull it out, so S and X. There there and then there is shifting. Let's put it into another one in the bottom here. Let's pull this back. Because when this thing comes down, it's going to be a big bang. That's basically what we're trying to sort out. You can see it's going to come through here, the gap that comes down through here and it needs to actually land on something. So that's why We're trying to put this to actually have a big block that it's going to actually stick into. Something like that. Now, let's grab one of these, and then what we'll do is we'll just press D and we'll spin it around. Y 90, press the SP and then just bring it up and then press S bring it into place. Yeah. That's that's about. Now what we'll do then on the next lesson is we can actually start working on these strips that are going to come here. I need to before I actually finish, I'll just literally pull these out a little bit further because at the moment, they're not far enough out. Something like that. Then the next one, then we can start bolting this into the floor. And then we can start moving up to the wwards the top, where you can see already, it's much quicker than what the actual the other one was, you know, the stretcher was. All right, everyone. I hope you enjoyed that, and I'll see on the next one. Thanks, lot. Bye bye. 106. Working with more Ornate Models: Welcome back to everyone to Blender and real engine, become a dungeon prop is, and this is where we left off. All right, what we're going to do now is we'll bring in I think these parts of the wood first, and then we've got those fixed, and then we can carry them the rest. On this one, it's already mirrid. Let's just press shift de selected and then bring in another e. Let's bring in the e. Let's make it a little bit smaller. S and X, let's press S and y and something like that, and then we'll put on coming from here. We'll have a couple of bots going down there as well. So we'll bring these over. Into place like so. I think something like that. Then what we'll do is we'll grab them. We'll bring them forward, shift D and then Z hundred 80, spin it round. On the front, I'm thinking, yeah, I'll probably keep it the same on the front because then it just looks bare, and then I'll press Shift D, and I'll spin it round the other way then. R -90. Z -97 to go the top and I'm just going to fit them into the front here into the sides here. So yeah, I think that looks perfect like that. All right. So that's that bit. Now we need to think about our little kind of edge that goes in here so they can actually lift it up and down. So the way we'll do that is we'll come into this one. We'll press control and we'll put it from, let's say there, and then we'll press control and we'll bring it t up to something like that. And then control two, left click, right click, and then we'll move them over. So move them over, squish them in. S and y Then all we'll do now is we'll bring those in. If I grab this here, press the born, I can bring it in. Now, the best thing is about this is already put those on these bits here, and we actually want them on this time, so that's really great. So you can see already that's looking really nice. Okay, working our way up, let's bring in now our actual cutter. All we'll do is we press bring in let's bring in I'm thinking, yeah, let's bring in a plane. It's going to be easier. Brought it into the wrong place. I'll want it right in the center. Shift S, Curse selected. No, yeah, we'll bring in a plane. Shift A plane, spin it around, so Rx 90, and then I'll make it a little bit easier, I think, S, bring it down first then we'll bring it up to maybe up to here. And then what we'll do is we'll bring a edge loop in Control left click, right click. And then what I'll do is I'll bring up this side. Like so. There we go. Dad's going to razor shop. All right. Now what we need to do is we need to pull this out and bring these two together. So I I press L on this and then pull it out, so it's going to be pulled out like so not too much, and then we just want to bring this bit in now so we can see that this bit needs to go in. S and y bring it in and make that little bit shop and then we got a nice line going across that. Now, we don't want to lose that line. So what I'm going to do is I'm actually going to bring in a shot. Click Mark shop. There we go. Now let's make the met part that's going to hold this on. First of all, though, let's make sure it's in the right place because of the moment, it's going to be not putting in someone's head off, it's just going to be slide in the front of here. We don't want that, so we need it's going in the bottom. We also need to make sure that is the right width, S&X pull it out a little bit. Now let's create that mel bit that's going to hold it all into place. Shift, let's bring in a cube, bring it up, and then we'll put the cube on the back. I'm going to put it on the back. Then what we're going to do is we're going to push that back now. Face select, push it back. Onto something like here needs to be quite thick because this is a lot of weight this things hold in. And we also need to make sure it's bolted in really nicely. So let's put it down there. Let's press L, S&x, pull it out. So that's that's looking about right. Now, let's bring in our bots. What I'll do is I'll actually make the bots. I think that's going to be easier. I'll do is I'll just press I'll grab this. I'll press shift the selective shift let's bring in a cylinder and we'll spin it around. X 90. I've got mine on seven, by the way, just in case you want to know, seven. Let's pull it out. Something like that.'s make them a little bit smaller. Let's pull them out then. And then S and y. Just lift them slightly slightly in front. Then what you can do is you can just press, it won't go in because I'm trying to on all of it. I don't really want that. Well maybe a little bit different. We're going to bring it back then and then bring it up like that. All right. Now let's bring in press one, I can bring in another one. Shift D, put it over here, and then shift D and bring it over here. There we go. One thing is that I didn't look at T actually need to go on the front of this, not on the back of it. I'm going to bring it forward. There we go. Now that's looking didn't look. Something like that, and I can see they'll actually screw it into the metal or something like that. Really. Now, let's put the top on this then. If I bring up this, if I grab this one, control clip, bring it up something like that. Then what we'll do now is I'm going to grab the center of here. Shift Shift A. Let's now bring that up and seven. Let's put it right in the right place. Let's press S and X, bring it out, like so. Let's put it onto here. And then what I want to do now is I'm thinking I'm going to beverly off like leading up. I'll have it the right width I wanted, which is which is round a bad there, I think, maybe a little bit more. Then what I'll do is press tab, come to the sides. I want to press control B. You can see that's not working. Again, control or transform dry plates origin geometry. Tab There we go. That's what I want. I'm just actually going to increase that as well, just to make it a little bit more rounded. Now we can come to the top. And we can pull this out. So enter ln S. That actually doesn't work. We need to just press S. You can see we need to pull it out that way as well. S y pull it out, and then finally, and let's pull it up into place. There we go. Wow, that's looking pretty nice. All right. So now we need to have a hole through here. I'm actually going to pull a hole in here, shift the selected. Shift A. Let's bring in a cylinder. The cylinder will put on 16. That's a nice size for a hole, and then we'll just pull that down, and then what' going to do is I'm just going to press Ns and pull it out. Needs to be relatively big because you want to actually see the hole. Something like that, maybe. A little bit smaller send like so. All right. Now let's grab this control, set the origins and modify Bole grab my cylinder, fast, press control and now we should be able to delete all the way, delete out of the way. There we go. Now, let's bring in something that's going to hold them. Hold this into place. What I'll do is I'll press shift, bring in another cube, and I'll bring this down. Fit it into where it's going to go. Now, you can see, we do have a bit of a problem in that our hole. I didn't think about, but our hole needs to be in a different place. So what I'm going to do is, I'm just going to press controls, going to go back before I do that, and then I'm going to move this down to here and just make sure it's in the right place because at the moment, you can see it's still in the wrong place there. At the moment, If I bring in something now, it's not going to line up properly and we want it to line up properly. The way to line up is, I'm just going to grab this. I'm going to press Shift S, cursor selector, grab my actual cylinder, Shift S and selections cursor, then pull it up into place and now you can see that's lined up perfectly in place. Now I can bring in a cube. And what I can do with this is, I can make it smaller S and X, and just have it just on the top of that. S and y then all I want to do is basically make a kind hook for it. I'm going to do is to actually, I'm going to bring back that first, and then I'm going to bring it up and then bring it up and now I can bring that in. S and now I can bring it in and now I can make some kind of. What I'll do is I'll pull it up like so, and then what I'll do is I'll bevel off these sides. Control B, Bevel them off. I'm wondering if that's the way to go, I don't think. I'll think I'll make it round of bevel like so. Then all I'll do is I'll grab both of these, and I'll just press I, and then right click and bridge like so. There we go, now put piece of rope on that. Now, the one thing is, I think probably need to bring these three up. Yeah, just to make it a little bit stronger and now find that we can bring that actual boon in. We've got it in, let's just apply it so apply Cleat out of the way now and there we go. All right. That's perfectly in the right place. What we need to do now is probably bring this part out a little bit. This part here, let's just pull it out just a tad like so, and that then's going to make it a little bit easier. When I pulled it out. I'm just making sure that I'm not pulling that. I'm going to pull it out like so. I'm thinking Should I make some backs on here. I think that's going to be the way to go. Before we finish, I'm just going to press Shift A, bring in a que, and I'm just going to move it over to this side, press the S b, press S and X, bring it out a little bit. Drop it into place. Can see it's a little bit too far forward. I'm just going to drop it into there. There you go. Press the tab. Can't bring it up to there, and then bring it up to the top of the like so. Yeah, and I think that's going to do it. Control left click right click, and then I'll just level this part but in fact, I'll bring it out a little bit more. I'll bevel in it, and I'll grab this part, press control B. Like so. I think that's just going to finish that off. All right. Finally, then I'll just use this, right click Origin three D cursor, add Mifier bring in a mirror. Yeah, and there we go. That finishes it off really nicely. All right. On the next one then, all we need to do now is basically put in our rope. I think pretty much we are done with that. All right, everyone. I hope you enjoyed that except the bats. We need some bolts in. I hope you enjoyed that and I'll see on the next one. Thanks a lot. Bye bye. 107. Creating Functioning Details: Welcome back everyone a blender on real engine becoming a dungeon props and this is where we left it off. All right. So now let's bring in those wheels. Let's do the wheels first. What we'll do is we'll bring in a cylinder. We'll put this on 20 this time. We want it a little bit more round than what we had it. Xin it round, press the born and then press one, bring it up. I want two of these. The one to be relatively small, something like that, you can see the line up perfectly. That's the best thing that we want. I'm going to bring it in now. Like so, and then we'll bring them both out. If I come in now and grab both of these. I'm just looking for the size because I think there needs to be a bit wider so S and y pull them out. Now press S, pull them out, as you can see now, that's what we're looking for, and then S and y, and pull them out, and there we go. That's exactly what we're looking for. Now, piece of rope can go along these. Now, the one thing is, We need to just basically put this one near enough. I I grab it, near enough, just going over the top because it would be actually going over the top like that. Then we're just going to finish them off now. If I come to this one and this one, press the button, press and bring them out. You can see that coming out really weird. That's because I've gone both. Press, right, click drop them back and then S and y and pull them out like so. Now we can actually come and put in the sides of these. All I want to do now is I'm going to press again. I'm going to press to bring them in. S and bring them in, and then'm going to press again. And then E S and y, pull them out, like so. That's what we want. Now, we just want to make the actual parts that go down. The way to do that is I'm actually going to press again and then S and y. Rewatch this if you're not sure what I've actually done. Then all I'm going to do is I'm going to grab the outside of both of these. I'm going to press and altern bring them out. So make sure offset even is on. And now, finally, we can finish these off by just bringing this out a little bit. So S and y and bring them out. Now, you might be asking, why is it so complex? I've messed that up actually. So let's just finish that first. So I'm going to press S and y, like so. And the reason it's so complex is because you want it to look actually realistic. You want to look like it's actually holding something in place and doing an actual job, and you can see that this part would normally go through and you'd be able to lower it and pull it up based on this. Now, this actual blade, it would weigh a good 30 kilos, maybe something like that, so you need to make sure that it's actually stable enough to just drop straight down to do the business. Alright, so now we've got that. Let's come to the underneath of it. And then what I'm going to do is I'm going to grab four of them because I don't really want it a little dinky thing coming down here. Once I've done all this work to actually strengthen that. So I got to make sure that this is also going to look pretty strong. So if I press and then just pull them down, like so, into place like so, you can see that it probably doesn't look strong enough. So we're just going to press S and X and just pull them out a little bit. So now it's looking strong enough. Now it all depends on the block, now on the knees. If I press shift A, bring in a cube, and I'm just going to bring that cube up, bring it over, bring it up, and then let's drop the top of it down. You can see this is a big part. Now if I press S and y, not like that, grab it, and y, pull it out, and then just pull it this way. Now you can see that it's looking pretty strong. Now if we actually double up on this. If we come into these and press control, left click right clip, same on this one, control of left click right click. Maybe if I just bring these down a little bit, like so, and then just join these up with bridge edge bridge faces, right click, where is it? Bridge faces? There we go. Now it looks really strong like it's actually going to work. Now what we can do is we can just duplicate this. I'm going to grab this one, going to press shift D, duplicate it. Over here, like so. There we go. All right. Now we need our actual rope. Easily enough, we wrote we've already worked with it, all we're going to do is we're going to bring in a curve. We're going to scroll up if you can't see at the top. But the one you want is the path. You're going to bring this in Make it smaller to start with something small that you can actually work with. I'm going to put it there just for now. I'm going to go to my geometry nodes, new down arrow, bringing rope, and then I'm going to go back to my modeling, this one here and I'm going to press tab. Now, I want to make this obviously a lot bigger, so the radius is going to be probably roundabout there. Then going to sort the twist out. I'm going to bring the twist all the way down. So I'm going to work out, is that too thick that radius? Possibly. Possibly, it is. So let's first of all, try though. If we press one, we're going to be inside view, and now we can get the perfect in tension on it. If I press, you can see that I can bring that down now straight into where I want it to go? You can see it's going through the hole. Now I want to just drop it down so I can just keep pulling it down now. So down to there, maybe. Then what I can do is I can grab both of these and just pull them out a little bit into the center like so. Now I can do is on this side, pressing one again, making sure I've not moved them to the side or anything. Pressing one again. I now I want to drop this down a little bit and then press. And then and then, then what I want to do now is, I want to bring this to the back now. So I want to bring it down here. I want to make it look as ough's got tension on. You can see if I just moved that out, it made it look as thou it's got tension on. Now I want to do is I want to press because I can carry on now and bring it round to here on here, not quite like that ball, I can basically as I've pulled it out a little bit. Hook it round something. So five come in now, and let's say, make a hook around here. I'm going to pull it round, so I'm going to twist it round like so, and then and now let's turn it round like so. I'm just pressing basically to get this look and there we go. All right. Now I can I can pre grab all of these with B, and just drag them into place, and you can see that looks really, really nice. Now, is it too thick to rope? That's just something that you're going to have to decide for yourself. Now the thing is, we also going to need something to hold this. I'll actually make that now. So what I'll do is, I'll press it. I'll bring in a mesh and a cylinder. I'm going to make it a little bit smaller, bring it out, grab it, bring it out. I'm going to put it on here, something like that because I want this rope to actually go through something. So I want it to go S, make it a little bit smaller, S said, like so so I want it to I want it to be maybe that's thickness. Now, let's bring it in. So we're going to bring it in. I then what I want to do is I want to bridge again, bridge then I want to pull this out into place. I'm going to grab it going all the way around to this point here. I'm going to press seven to go over the top. Yeah, that's perfect. And, and then just put it into place. Now we can just pull this out now. So if I've got this, and just pull it out so it's going through that hole and that hole is actually holding it in place. Now finally, all we need is one more part, shift a cube. Well, actually we need two because we need something on there as well, so we'll sort that in a minute. S and then and, and we're just going to slide this into the center of here, like so, and then S and X, something like that, that's going to work, and then just bring it out. Then we're going to press and then bring it down and like so, and then maybe just a top on it as well. Look at as though it's actually wrap around. All right. So now, the other thing is I want to grab the bomb actually. Press control B. Involve press control, you'll transform drlick srogmGeometry, and now press Control B. Just round it off a little bit. That looks bad. Now I will actually come in. We can't actually do that yet, but you can see those ends there. I just need to make sure that they're going to be done properly as well. We've got this now. We need to just make an end on this. I'm thinking that we'll come into this one. Shift S to selected. Let's bring in now another cylinder. Shift, let's bring in a cylinder. Let's spin this cd around. Y 90. Let's make it smaller. So and just get it into the right place. S, bring it down to there, something like that, and then they press S, bring it out. Then again, we'll bring it down, making sure that it's on there so it can actually slide in may can see it's a little bit wide at the moment. S then grab the front and the back, and then press I to there, and then I and bridge edge loops. Sorry, right click and bridge edge loops, and there we go. All right. That's looking good now one more cylinder. Shift S selected shift A, one more cylinder, mesh cylinder. Let's press S, bring it in. This one then is just going to fit on top of that and hopefully hopefully hide that rope out of the way. If I drop it in to here, can see now that that is going to look good. All right. I'm happy with that. I'm just not happy with the height of this. I'm just going to bring it up. So you can see that I need to just bring down like these four on each side. I'll do that now. Bring them down to there. Then I'm just making sure that it's not. Well, it's you'll never see there anyway, so I'm not going to worry too much about that, bring down. Then all I'm going to do now is just delete that face out the way. So delete faces so you've got no bending or anything like that. Alright, so that's pretty much it. Now, on the next lesson, then, all we need to do is do the final finishing touches. I don't think we've got too much more accept the bolts. But I think what we'll do first is we'll get the materials in and all that good stuff like that. And then finally, we can put our bolts on, rename it, put it in RSM Menager, and that's it. That's all of our actual models done. All, everyone. So hope you enjoyed that. I'll see you on the next one. Thanks a lot. Bye bye. 108. Finishing the Last Dungeon Prop: Okay. Welcome back, everyone to Blender and engine becoming a dungeon prop artist, and this is where we left off. All right. So now let's get in all of our textures. First of all, though before we do that, obviously, we've got to make sure that everything's done correctly. I'm going to come to my GO nodes. Just going to hover over it, press control a can't do it that way, so I'll go to object, convert to mesh, and there we go. All right. Now, I'm actually going to decimate this down again because we know that they will be quite high. Now, before I decimate it, probably better off filling in these holes. I'll fill those in just simply by grabbing them, pressing all t and grabbing this one. Hoping a great te, and there we go, let's fill those in and they're done now. And then what I want to do is, I just want to, I just want to now come in and modify it, and we're going to bring in a decimate. And we're going to bring it down to 0.9. Let's try that. That's what we had having before. So let's see that actually works. And it still seems a little bit high. So maybe I'm going to put this on 0.1. What I'm going to do then is apply it, so control because it makes it easy if you break it up actually, and then we'll come down decimate again. Then this time 0.1 let's try that. And you see how it's come down now and how easy that is to actually do that. Now again, this might be, let's see if we can put it on 0.3. How much difference that's going to make, if any, and not really any difference, I don't think. I'm going to go by 0.1, a little tiny bit. Let's try 0.2. I'm going to go with 0.2. All right. Let's apply that control and that's that bit done out of the way. Now, let's join all of this up. What I'm going to do? I'm going to just grab it all. So, I'm going to go to object, convert to mesh, and then I'm going to press Control J, join it all together, and I'm going to right click Shade Smooth. Also move on, like so. Then I'm going to do is just beverly off. I'm going to go to add in valve, press Control A first, right click. Sorry into geometry, add modify, bevel can see as leveled it off, as it leveled it enough off, I'm just looking over there and making sure that I'm happy with it. The thing is, when you join anything together with all these different parts and things, sometimes it's a bit hard to do that. Better off going to geometry, turn the clamp overlap off and then see if you can bring it down and actually get off. You can see if I bring that one, it's actually worked and the problem, I think is is these bolts here. What I'm going to do is instead of turning the clamp overlap on, I'm going to turn that off, and I'm going to take these away and you'll notice as soon as I take away the right one, it will level them off. If I press P selection, come back to this, you'll see it's still not done the fin it might be something to do with these. I'm going to take all of these off P selection. Still not work. Let's take these off. P selection. Let's try seeing what else it could be. Still got these on I think. Not that was on. I'm going to minus it off. I'm going to press G and just look what else I've got on there. I don't think there's anything really that's going to stop me beveling it apart from maybe that part in there, but. Let's press control A now all transforms are click surgeons geometry. Let's try the bevel now, and there you go. You could see it just pop in there, just popped in much betth where it did. The other thing of course is now because I've done that, I can probably get away with actually doing my clamp overlap, send it down zero, turn it up to one, and then put it on 0.3 0.5. Yeah. There you go. Perfect. That's what I'm looking for. It's probably that bit there, actually. I missed that bit. It's probably is that. Anyway, let's press Control A. And then what we want to do is I don't want to bevel any of the other parts of. So what I'm going to do again, I'm going to join it all together, Control J, and now it's ready for the actual textures. Let's bring back our rope now. Double tap the A. Let's put it on material. We really know what we're doing at this point. So what we'll do is now, we'll just grab everything and just throw it on there, it should be done very, very quickly. Let it load up. Longest part is letting it load up now with all these different materials on. There we go. Now, let's come to our rope. We'll do that first. I'm just going to grab one of these parts. I'm going to press In fact, I'll grab them both. I'll do them both at the same time. Smart UV project. Let's come in then and what we'll do is we'll Well, actually, I think we'll grab this and we'll grab this. And what we'll do is press control L and we'll put it onto link materials, and then we'll grab this and this and we'll do exactly the same thing link materials like so. That's going to make it a lot easier for us. All right. Let's come to the rope then. With the rope, the first one I want on is smart UV project, and then I'll grab one of these with L, come down, and we're looking for rope one click a sign. Come down to the next one, rope two, click a sign tab. There we go. There's a rope done. Let's hide that all the way. Let's come now to our actual these parts here. These are simply all going to be just metal. I'm going to press V project. I do click a sign. There we go. That's that part done. Now let's work our way down. All of this wood, I can just do pretty much well, I'll break it up actually. I'll do these will be dark wood, and then I'll have this will be dark wood and then I'll have some light wood on here. The rest of this will be dark. I'll do is I'll unwrap all of these together, not this one because it will make them much more the same size of the wood. So Smart UV project, and then just put it on dark wood. Now we just need to turn them around. So if I go to where is it UVs in A R 90, let's press dot to zoom in. Then we go, that's that wood. Now, let's hide those out of the way and we're left with this. So now let's come in and grab all of these, all of these. So, smart UV project, stylize wood, A 90, spin them round. Let's hide those out of the way, and now we'll come to this part here. This part and this part, we'll do the other woods you can see if I just pull this out a little bit, we've got the lighter one. Smart reproject A 90. Make them a little bit smaller because yeah like that. That looks a lot better. And now let's come in and hide that other the way. And then we're going to do is the other metal parts. All of these, not this part, all of these, and this. I'm looking for the rest of it and this and this, they're all going to be a dark met. Smart reproject dark click a sign. There we go. All right. That's that. Now, let's come into these bolts. I'm thinking that these bolts I'm going to be either the greeny or the iron old. I'm thinking probably the on old. Let's UV project and on old a sign, hide them out of the way. Now, this part here wants to be a weapon, so I'm going to click the down arrow go to weapon. Weapon sine, and Smart UV project. The reason I did that we've got that really beautiful shine up there, so it looks really, really nice. All right. That is, I think everything done, but I'm thinking that I'm going to just change these. I'm going to press tag. I'm going to come into these parts because they don't look right. Grab each phase, control plus and just change them over to my dosin can see the log tons bear. These ones are, they're going to be the same as well. I'm going to do the same thing on those. Control plus, and then where are they do, a sign tab, and there we go. All right. Finally, let's bring our rope back and now we should be able to join this and this together. Control J, double tap the A and there you go really nice. Now, I'm just looking around there. Now what we want to do is just these bolts now, so I'm just going to press just to finish it off. I'm going to press seven to go over the top. And then I'm just going to find a place where these can go in. I think I don't need a bolt. I'm thinking probably better if I just put some bolts in the floor, like so. Yeah, I think that's just going to be better. If I press shift D, bring it to this end and then shift, bring it to the middle. Then finally, just grab all three of these and then shift, bring them over to the other side, like so and then grab them all and then just join them to this, control Ju that looks perfect. All right. Now let's come on. Make a new we don't need to make a new one. All we need to do is rename it. I'm just going to rename it to Guilin then I'm going to drag this. Actually, it's already in there. That's good. Let's mark as asset and let's close those up. Close them all up. I'm just going to move up and start closing all of these up. We can pull this down as well, so it can actually make it a little bit easier for us as you can see, close everything up then. So so so okay let's put this into place. So I'm thinking probably it's quite a wide thing, so I'm thinking maybe it can go there. I'm looking at the whole thing now. It's it's quite packed now, so I'm thinking probably better off. If I move this at the back, So. Just looking at where it actually is. I'm going to press one just to make sure you can see some parts here like this is not on the ground plane. For instance, I'm just going to pick it up a little bit. Now I want to do is I just want to make sure everything's in as you can see that this is causing a few problems. It's not quite in the right place. This as well. I need to bring forward now so you can see Sins come together. Then let's bring the flags over the banners over to here. Then let's just swap them around and that then is going to make them look much better, like so. Let's have a look at that. The and there you go. Perfect. That looks really nice. All right. That's really cool out the way we've got it because if we take this angle, it's got a really nice angle going down. Okay. So finally, then, just a few more checks before we do everything. All we want to do is going to come down face orientation, we'll grab this one, this one, and maybe this bed here, press tab, A to grab everything, shift, spin everything round. And see now we've got all of those going the wrong way, all I need to do is just grab all of these, press shift N, spin them round, come down, turn the inside around, and now you've got a problem with the actual rope. Sometimes this happens. L and L and L, press shift, spin them round, I think, like that. There we go. All right. Now I'm just looking. That's that. That is everything done. All right. Now what I'm going to do is I'm going to just grab all these. I'm going to put my face orientation off. I'm going to drag them back now and over to the side. What I want to do is, I want to make sure if I press the dot one, where are all these parts. All these parts should be in a certain plate. So if I press dot, they're all in these material, as you can see. This, if I clip this off, Okay. He should hide everything out the way, Richard does. Perfect. I don't want him to be seen and I don't want him to be rendered either, so I'm just going to make sure that's ticked off as well. That means that I'm going to keep all the materials in this actual blend foil and I'm going to keep all of these in there as well. Now, my little guy as well, he can go over there. I can hide him out of the way, make sure he's not rendered, and there we go. Now, finally, let's just grab all of this press seven and let's just put it into the center of our word or roughly in the center because then it's going to make it easy when we actually come to render this out. Don't tap the eight and there we go. Now, one more final look, let's just see what we've actually achieved in all of these lessons. Let it load up. Let's turn off our floor and there we go. All of our actual assets are done, ready to go into our game or whatever we're actually building. Now the thing is because we're looking from here now, we can see that we can move a few of these round and we can get it actually looking a little bit better. I can see here if I grab this and this helmet and bring it forward a little bit just to make it a little bit better here you can see Okay. Make that look a little bit better, and there we go. All right. I think that's pretty much really good we've actually got everything in. All right. Finally, then, let's put it onto materials, and now all I want to do is I want to come down and make sure everything is in place now. The way we're going to do that is we're going to go to our asset manager and we're going to go to all. You can see that all is everything basically. Now what I want to do is I want to come. First of all, and just grab all of my assets. Just the assets is what we're going to grab. I'm going to go down, grab it every single asset. Just try not to miss any of your assets. Okay. So I'm just control clicking, all of my assets, not the material. I'm going to do the material after. I'm going to drop those in to my props. So you can see Treasure P and the x. All right. Let's drop those into the props like so. Now I'm going to do is I'm going to go and do the materials. So I want all of the materials so you can see up to here, and at least there's not as many materials as there are props. That's one good thing. Go down, going down, skill going down down down, and then the three like so, and then drop those in. Now, one thing I did forget to do. I'm just going to drop those in materials is I did kind of forget to if I actually grab all these, the problem is it won't show up on here, so you can see, I'm probably going to have missed some like so. You can see if I grab this one. It's not actually done. So mark as asset. I'm going to hide that the way. I'm going to check each of these, hide them out of the way, check my gold, hide them out of the way. Check my treasure chest, can see material plain. What material is that? I actually have no idea. I don't even think that's even part of it. So come on, minus b. Yeah, it's not. All right. So let's go down these. Going all the way down, can see actually. We've done a good job on those ones. They're all there. That's good. Check in now the candles. I've got those. I don't think so. Right click. Markert, flame, right click, Marks asset, does that the way. My torches should have the fabric. They're all done. Let's look at the parchment. Marks asset. I'm not going to mark the decals stamp. Mark as I set hide those out of the way. The books, let's say book covers, pages, they're all done. The water, water is done. The straw, I'm not going to actually have that. I'm just going to go down these quickly. You can see what I'm doing. I'm just checking. You can see the red cloth is not done, all the materials are there, so you can actually use them in your own your own blend files and things like that. The rote. Have we done the rope? Nope. Mark as I Mark as I said. I'm just going to go up. Go down, we go leather straps, because I said. I think pretty much pretty much I've nearly got them all now apart from that, that shield, they're all done. I don't think there's any more actually. Let's press age. Let's come to all and one more time. Let's bring in all of these materials now. So just try and make sure that you're not going to miss any. You can see there's a lot more materials now, and then we'll be able to use these in all of our other builds and things like that. We can just drop these straight in UVunwrap drop them straight in then makes it really easy. All right. So now let's put them into materials. There we go. All of our materials, all of our props, as you can see, and there we go. Now, let's go to modeling. And basically, what we're going to do then on the next lesson is, we're going to focus in on taking our renders. And we're going to focus on compositing. And then finally after that, we're actually going to set these up ready to send through unreal. At that point, it's up to you whether you want to finish the course or whether you actually want to do the unreal part. It's completely up to you. So you could have a blend file saved out like this, or you might have the BlenFi saved ready to go through unreal. Let's save it out then, and I'll see you on the next and everyone. Thanks a lot. Bye bye. 109. Setting up Cameras & Clipping: Welcome back, everyone to blend on Unreal Engine, becoming a dungeon pre artist, and this is where we left off. Now, the last things you should do then is you should do just your final checks and before we move on. So you should come up and go to face orientation. Make sure everything is the correct way round. Next of all, what I suggest is just grab everything, press control all transforms, and just reset all of the transforms to the geometry. And that then should make sure everything's reset as well. Now, don't worry about that because we're actually going to reset them anyway when we come to the Unreal engine part, but you might not actually be doing that. All right. Let's turn off the face orientation, and that's pretty much everything now ready. You had to put on obviously or your decals and things like that. Now we're going to do is, we're just going to make sure that everything's in the right place so you can see you've got candles. Let's just put these up. I'm just going to make sure they're all put up. You see, everything's organized now. We already know that we've done our asset manager and everything's in there. All right now what I suggest you do is I suggest you set up a camera. So what I'm going to do is, I'm just going to press Shift A. I'm going to bring in a camera. Now, the camera is going to come right anywhere where the actual cursors and it's not going to be lined up. So don't worry where the camera is at the moment. What you're going to do is you're going to line yourself up and have a look at what would be a good render. Something like this probably might make a good render. And then all I'm going to do is I'm going to press control, lt and zero. And that then is going to put the camera right to where I'm actually looking in the actual viewport. Then what I'm going to do is I'm going to push my mouse up with the actual zoom board till we get close to the edge. You can't go right to the edge, where you can come as close as this, something like that. And finally, then what I'm going to do is I'm going to go to view, and you've got one that says camera two view. Now we can actually move the camera out. And we can also move it around so we can pan it in the same kind of buttons. Now, if you want to zoom in very slow, all you need to press is control and shift, hold them, and then move the middle mouse button up and you will be able to scroll in very slow. Just press the end button if this is actually in your way, and then you should be able to get a really, really nice render light so. All right. Something like that. All right. Now, once you've got your perfect view, press the end button, turn off the camera to view, press the end button again, and now you can just move it around. That camera will stay in that place. All right. So the next thing that we want to do is we want to put this on the actual rendered mode, and just go through some of the options. The first one we're going to cover is actually going to be blender cycles. And there we go. Now what I tend to do when I've got this in here, first of all, just make sure that you're happy with your actual gradient on the background, and then let's just turn off the squares, and then you can see what kind of view you're going to have. Now, I do recommend that you bring in a plane for this. We'll quickly just do that now. I'm just going to bring in a new plane. I'm going to put on back here and put this on and then shift and cursor to world origin, and then shift, let's bring in a plane. The reason we're bringing in a plane is because normally normally, We're not actually going to get a lot of light bouncing off and things like that if we don't bring in this plane. So that's why I normally bring in a plane. Now, the other thing is just make the plane rather large or something like that. And then when you take your image, the way to actually get rid of it, so we don't see that is just to turn down the clipping on the camera, which we'll discuss in a minute. The first thing that we want to do is actually bring in a color or something like that. So I'm just going to bring in I'll call it Let's call it floor. That will make more sense. Then what we'll do is we'll put it onto our render view once more. And now all we're going to do is just set up a basic floor. Now, you having really nice texture to bring in here to set this up on. I haven't got actually one of those. What I'm going to do is, I'm just going to see we had to set up a basic floor, something like this. And what I tend to do is then just turn up the roughness or down the roughness. I think it's down actually, let's see. Just to get a bit of shine, let's turn it up. Yeah, I think it's going to be down. There you go, you can see we've got a lot more shine, a lot more shadow on it. Maybe that's a little bit too much. So let's just put it on. Let's say no 0.1, something like that. Yeah, I think that's going to be okay. Now, just bear in mind, the higher this roughness value is, the more reflections and things like that is definitely the more render time it's going to take. I think what I'm going to do is, I'm just going to make these a little bit blurry. I'm going to put it on 0.3. Let's try that. That's maybe a little bit too much 0.2. We just want it to load up and be like, something like that, and now you can see, that's going to be a beautiful render when we actually render this out. Now you can see my viewport is really, really slowing down, and to get rid of that, what you can actually do is you can come over to where your cycles is and you can see where it says, viewport maximum samples. What he's trying to do is he's trying to render up to 1024 at the moment over the left hand side as you can see. Now, we don't actually want that. Let's put it on something like five. And there you go. It's renderings done. Every time now I turn this, the rendering will be done after five samples. That's definitely going to speed up your actual viewport. All right, turn that back to 1024 when you've finished. The next thing then we want to do is we want to talk about the maximum samples. This is the maximum samples, 4,096. This is where it's set out at the moment and we've got de noising on. Now, the moment denise and what it does is, it waits until you finish the render and then it will start actually de noising all of those samples that it's already taken. So what we want to do is we want to turn this down. Let's say something like 1,000. Something like that. What that's going to do is it's going to reduce the amount of samples that we're taking for each one of these little squares, which you'll understand actually when we start to render it. Now, the other thing is we've got a noise threshold here. What this means is if we set this to zero, it will go through the maximum number of samples. If we leave this on 0.1, what it means is it only goes so far until it thinks it's okay and then it will actually start to denise at the end of it. It won't go through samples at the full samples if we've actually got this set to 0.1. Now, the thing is if you really want to really crisp high quality image, set this to zero and then mess around with putting your samples up because it's going to take much longer if you do set this to zero. That's the idea of the de noise in. The cycles x, by the way, we've got this on is very fast anyway. All right. So the next thing we want to discuss. We want to come down, and I want to show you something called color management. Now, if you come to color management, you'll see at the moment it's got filming on, you want to leave it on that, and what you want to mess around is changing this to something very high contrast. Now, what that does is it really brings out the saturation of everything. You can see if I come down and put in high contrast or something like that, you can see just how much these colors are actually coming out. Now, you might actually like that look, so that's the one thing I would say that you might want to change. Bear in mind that when you do bring that in, you're going to have to go in and actually change the actual lighting. Now, the only lighting we have got in here at the moment, I think is, if I just put this on material is going to be I'm just zooming out, Oh, we have got a directional light. So we've got a directional light. So what I'll do is I'll come back and I'll click on my directional light. And what I'll do is I'll put this back on render view now, and I'm going to turn up the strength of the directional light. So let's just turn that up a little bit and see if we can get this to look a little bit lighter. So if I put this on, let's say something like three, it's probably going to be way too high, I'm imagining, but let's try. At the moment, what you can see is we've got a lot of shadows and yet it's still really dark. So let's put this on three. And there you go. Now you can see, much, much brighter and you might want it like that. Now, you can go the other way instead of turning that up, let's turn that up to let's say 1.5. Then what we'll do is we'll go to our world instead and we'll turn up the strength of our HDRI. Now, you'll see that there's a complete difference. It's more like an ambient lighting when you actually turn that up. So it takes a little bit of time to lot up, but you can see now it's more of an ambient lighting, not so much of a direct sunshine lighting. You've got two ways you can either brighten it up or you can brighten it up with sun basically, which other way you actually want to go with that. All right. So now we've actually set that up. I think that's going to look nice and now I want to do is I want to come back to my blend of cycles. I want to go down now, and there's a few performance things that we can actually change. Under performance, you will see that you've got these. Use curves BVH. If you have brought that, it says it's optimized four curves. You uses more RM to render faster. It's optimized the curves so you might want to actually use that render faster. If you come down to the second one though, it says, uses less RAM but renders slower. You might actually want to turn that off if you want renders to be a little bit faster. At least I find them a little bit faster I'm actually doing that. Now, the other thing is, we've got our tying size here. Now, there's so many people that say you want this higher. There's so many people that say you want this lower and things like that. In my own experience, I found that if I'm using my graphics card, I want my tiles to be smaller. So if I'm using my graphics card, I want it on 64. If I'm using my CPU, I want to have it on 2048 or something like that. Okay. All right. So they're pretty much all of the options that you'll actually need to go through. I don't think you're really going to need any other options at this stage. Now what we're going to do is we're actually going to render this out. Before you actually render it out though, just make sure that you always put it onto wire frame because if not, blender is trying to render this out and it's also trying to render the actual render out. You've got two renders actually going off at the same time. Actually, I did forget one thing. There's one other thing that we need to cover. If we go to our camera, You will see if we come to our camera options here, that we do have all of these types of things. Now, you've got a perspective and I presume that you know actually everything about that. But if you open up this but now you'll see, let me just find it if I come to I think it's on my item I'm looking for my actual clipping. Here it is my clipping. So you can see the clipping end is on 1,000 meters at the moment. If you put this on something like let's put it on one, for instance, we can't see anything. The reason why I can't see anything is because I said if I bring this out now, you will see that now we actually start to see something. You can actually clip off how far Blender is actually seen into the distance. Maybe maybe you don't want to see all of that. Maybe you want to bring it back a little bit, so maybe only want to going so far. So if I put it to there, I press zero now on my camera. I'll just press zero to go back to your camera. You can see now that's what it would have actually clipped off. Actually, that's not the clipping of that. Let's put that back on 1,000. That is the clipping of my viewport. I want to come down and clip my camera. There's my camera clipping. Now if I bring this down, let's bring a 100 or something like so. Now let's drop that down and we should. There we go. Now we can see the camera actually clipping. This. Now, if we grab now this and we make it bigger, so let's press S, pull it out. Let's put it on material. I'm going to make it a little bit easier. Let mo make it a little bit hard to myself. Press the S one and let's bring that now let's come back to our camera and just change that clipping, bring it up, and there you go, now you can see, we're basically covering all of that. That's basically what we're looking for. All right. So now what we'll do is while we'll move on to the next lesson. Well, before I do that, I'm just going to put it on why frame. And what I'm going to do now is come over to my render button and just play render image. So I'll let this render out guys. And when I see you on the next lesson, this should actually be rendered. Alright, everyone, so I hope you enjoyed that, and I'll see you on the next one. Thanks, everyone. Bye bye. 110. Working with the Blender Compositor: Welcome back, everyone to Blender and nary gone becoming a dungeon prop artist, and here we go. So I actually press record before this actually finished just to show you. The thing is, when I first take a render, I make sure that the actual samples are pretty low. We have a basic render, a mid render, and then a high level render. And that's basically how we do this. And the reason we do that is because we don't actually want to render something out really high and then find out it's not very good. So this you would say, at least on my computer because it isn't going to take long. You can see that my time remaining up here is around a minute, so it's just going to take one more minute and then it's actually going to be finished. So Once it's finished, we'll go back then and do a much higher render. We'll show you how actually that works. Now, once I showed you that, what we'll do is then we'll go and composite this. You'll understand how to take a render, how to make it a much higher level render, and we'll also look at the time on here, and then we'll understand how to do composite in. Finally, then we'll just move on and I'll quickly show you how to render it out in easy as well. You can see now it's nearly finished. Now it's de noising as you can see. So you can see it took 2 minutes, 43 seconds to get our render. Now, what you can do is now you can go to image and you can save this image out. I recommend when you go to, you just always put it on 16 for the color depth, you turn the compression all the way up to 100 and then you just find somewhere. I'm just going to put it into I'm going to put another one, so I'm going to make a new one, and I'll just renders and then I'll just double click it and I'll call it to render one or something like that. All right. Let's save image. Now the thing is, you don't actually have to save the image to use that in the compositing. The compositing will have this image available for you anyway. Now I'm going to have to retake this image probably. What I'll do is I'll go to compositing first because if I start rendering it out at high level, you will see that you'll only get that in the composite, whichever you leave it at. What do I mean by that? If I come now up to this button here that says compositing and click that on. You'll see at the moment, there's nothing actually in there, and that's not what we want. So what we're going to do is we're just going to pull this over. Like so. We're going to use notes, and now you can see here is our image, and you can see it's already set up here as well. We don't actually want that. What I want to do is I want to change this view, and what I'm going to put it on is image editor. Now I'm just going to go to my images. I'll type in render and it should come up with render result like so. I do this because then it's much easier to actually see what I'm doing. The other thing as well, is I don't actually want particularly this down here. So I'm just going to come down, left click and just pull it down. I'm also going to do the same thing. I'm looking for that little actual square there as you can see the little cross and now bring that down, and now we can actually composite it. So you can see at the moment, this is what we've got. Now, the first thing I want to bring in then is some lighting. So let's alter the lighting a little bit. And we can do that with something called GP curves. It's one of the best things you can actually use in photoshop. Basically, this is pretty much like photo shop. Now, if I come in and bring this down, you can see it can make it much darker, much lighter, really brighten it up, and you can see we have a lot of control over there. All right. So that's that one. Now, there are a lot of things available. We're only going to cover the very basics of here. I'm just going to go in now to matual candles. You can see our candles there, and what we're going to do is we're going to talk about bloom. Now the thing is in cycles, we don't actually have any bloom, so we actually need to create it ourselves. If I now pressure A and let's search for I think it's dirt fog. No fog. Let's suffer a look at bloom. Nope, it's not on the bloom. So what we'll do is instead of that, we'll do shift A and we'll come down to my filters, and the one I'm going to look for is glare, this one here. I'm going to drop that in and straightaway, now you see that happens. Now the thing is, we don't particularly want it on streaks on this one. So I'm going to click this down, I'm going to go to fog low, and now you can see, we've actually got some ambient sorry, some bloom actually in our scene. Let's put this then on too high. And then all we need to do now we can set the threshold if we turn this up and then turn up the threshold. I think that turns it up. Let me just try that one. Let's put it on 20. Yeah, I think I've turned the. Let's put that zero. Let's turn this down to not 0.5 or something like that, see if that actually brings it out. There you go. The lower we go on this. The more bloom we're actually going to get, as you can see. Let's set it to something like not 0.3. And there we go. Now, we've got a lot more bloom in there as you can see. That's how you actually if you turn this up, I think if you turn this up, it should gives more bloom. Now, if it's not working too well, just put it onto low and you will see now, if I turn this down, there you go. Now you can see, we're actually getting more bloom and then just put this on medium or something, and there we go. We can see we've got a lot more bloom in there. That's one way of actually bringing bloom. The next one we're going to talk about is going to talk about how to actually create a sharper image. What we're going to do is going to pull this out. So you can see because I've actually brought in this level, it's actually put that on the back of it. Just be careful and just be very gentle with bringing that up, so you're not going to end up with that kind of the reason that's there, by the way, is because my clipping is just being probably a little bit too low. Just bear that in man when you bring this up as you can see. Just be careful that you're not actually bringing that out. All right. So now we're going to talk about is sharpness. Now, the sharp used to be its own option, I think, but now it's not. So if a press shift a come to our filter. And I recommend playing around with all these things as well. They're really, really great and just putting it onto filter. So you'll see now if I bring this in, I'm actually going to drop that in. You'll see straightaway that it softens it off. Let's go a little bit into this shield so we can see what we're looking at. Now, if I turn this then to diamond sharpen, you will see that that actually happens. You can see probably a little bit high on that. Let's turn it down something like 0.5 and you can see straightaway now, we have a much crisper image. All right, so there are a few of the options on the composite. Now we can also alter the color tone of this. To do that, we go to let's have a look to color and we're going to color balance, brightness, contrast. You can see pretty much you've got all of the things that you would have in Photoshop. We've got our RGB which we used, but we've got all of these. You've got one that says color balance, and this is where you can actually bring out the tones of the actual sequence I can bring it up very very slightly like so. I can mess around with the bottom tones as you can see, so I can put a nice blue or something like that. Something like that, and then we can mess around with these towns. Let's put it. Maybe Maybe something like that, and let's also try and bring that down a little bit. There we go something like that. You can see that looks really nice. All right, then once we've done that, we can go to image and we can actually save out that image now so we can save it out, and we'll just call it render two. Again, I'm going to put it on 16, and again, I'm going to put this saves image, and there we go. Now, let's go and actually open up those images so you can see actually what we did there. When it actually finishes saving. Remember, because I put it on 16 color depth, it's going to take a little bit longer. Okay, let's bring these over. This is my render two, and this is my render one, and you can just see the difference. You can see on this side, how much the brightness is, how much more crisper everything is, and you can see already how much just the lighting looks just so much better on this side. The blooms actually brought out the candles a lot more, and you can just see it's just a much nicer image. So you can see how powerful the actual compositing actually is. Now what I'm going to do is I'm going to close that down. I'm going to close this down. And then what we're going to do on the next lesson is, we're going to go back to our options, and I'm just going to tell you how you can actually get a better image. Now that you've seen how your image turns out because that's the first thing you want to do. You want to get a low level image. Then you want to composite it to see what lin you can get, and then you want to do a mid level image with the compositor, which I'll show you in a minute. So I'm going to leave this rendering once more. So what I'll do now is I'll go back to modeling I'll come over to my right hand side. Then what I'm going to do is I'm going to put this on where are we? I think this is the wrong one. Is it? You put shading samples. Where's my samples. There's my samples. Now what I'm going to do is I'm going to put this on let's say 3,000 samples. I'm still going to leave this on 0.1. And then what I'm going to do is once more, I'm going to go to my render now and render image. Now, at the end of this, you will see it denis is it and then it will actually use all of that composite information to actually bring in all that lighting and everything like that that you've already got. I'll click render image and I'll see you on the next one every Thanks a lot. Mm. 111. Working with the Eevee Render Engine: Welcome back, everyone to Blender and real engine becoming a dungeon prop artist, and here we are actually rendering it out. Now, you will see up at the left hand side, that the last one took 2 minutes 43 seconds and this one is expected to take 7 minutes. Now, I know it's not going to be 7 minutes, but it's certainly going to be longer than my 2 minutes 43. And the reason for that is what I've done is I've actually put the samples up. Now, Okay Those samples, what they do is, it actually takes more time to render something out. Thereby, it's actually creating more actual detail. The longer it's got to work on each one of these squares, the more detail is actually going to put in there. Now, before you end up with a load of fireflies and a load of noise actually in each of these, if you did low samples. But because now we've got de noising on, it actually gets rid of that noise, by soften it out and a load of all stuff that I'm not going to go into, but actually it makes it a much quicker render time. So now we've done that, we've got a longer time because we turned up our sample. If I stop this now, all you need to do is just press escape, and then we'll stop it, it will denoise it, and then it'll bring that lightening on top of that, and there we go. Now, let's close that down. Now if let's say that's a mid level render you come over to the right hand side, we'll keep it on 3,000, but we'll put this on two zero. What that means is now there is no noise threshold. It's basically going to render each of these out to 3,000 and then at the end, it's going to denoise it just to clean it up a little bit, but you will get a much much better render. If I go now to render image, You'll see it takes a little bit more time to actually think about it and now you'll see that it's rendering out. But you can see just how slow it is. You can see that time remaining is really going to start ramping up now because of the fact that it's got a lot of these squares to get to 3,000. The higher that you turn these samples up now, the longer it's going to take. Once it's finished then it will denoise everything and you're going to get a really nice crisp image. So that's that done. Let's suppress escape. I'm not going to actually run that till the end, because at the end, it will denoise it, and then what it'll do is it'll actually bring in that lighting that we've done from the compone. All right, so that's that part done. Now, let's go over to our EV. And the EV, if I put this on now, you will notice that we do or should have a few problem. So let's put it onto EV. So the first problem we're going to see is that we've got our actual decals actually showing through. We need to actually sort those out. The second part of the thing you're going to notice though, is straightaway that we've actually got ambient occlusion in here. That is really nice because what it means is you can actually set this up to be darker or lower. Now the thing is the Christmas of EV is not going to be the same as cycles because EV is basically a real time renderer whereas cycles isn't, it's actually like a cast or something like that, and it actually goes for detail, whereas this is more like renge or something like that. Now, you can see though that the options that we do have in EV are really really nice, as well, we have the bloom. You can see as soon as I turn up the bloom, you can see what happens to the candles. Then what we can do is we can really ramp up that bloom a little bit, let's bring it up a little bit. I'm just going to mess around with a few of these because I'm not sure there we are. There's the one that's turning it up as you can see. We can also turn up the intensity then of these candles and you can see just what a nice effect we actually get. Now, the other thing with EV is, it's much much quicker than then they're rendering in cycles. If I put this again on the wi frame and then come to render now, render image, you'll see, there you go straight away. You will see as well that the composite in also came in. Now, you can see that these decals are showing through, same as these on here, and we naturally need to fix that. So I'm going to show you now how to fix part you can see that it just gives an entirely different view to whatever you're rendering. I normally use this as a quick render just to see what all of the parts look like and things like that. I'm not going to do a final render with EV. But what I do know is that pretty much what I'm seeing here is what it's going to look like, in real engine before actually, I mess around with how much metallic we have on these gold coins and things like that. So let's close that down now, and let's actually fix these actual parts. You can see now the best thing is Acme and view this in real time because it is the EV render engine. Now, how do we actually fix the details? Let's come to this straw first. So what you need to do is you need to come over to your material. You need to make sure that you're on the straw, for instance, and then what you need to do is you need to come down and you will have one that says settings. This one that says settings here, this is going to have the blend mode. Now, the blend mode we want this on is Alpha clip, and now you'll see that that actually disappears. If I press double tap the eight, you can see now down nice that actually looks. Now the thing is, we have got shadow mode on opaque, you can as well have this on Alpha clip as well, and what that means is, it's basically going to it's going to be a bit costlier as terms of rendering time. But what it's going to do is it's going to change it from that block because even knows that this is obviously a plane and it's going to change it then. So we've actually got that really nice detail. If I put this again on opaque, you'll see now those actual what they call it? There was planes that we use with these on them, and you know that they're round because we actually subdivide those as well. Again, if I put this on opaque, Okay. Nope sorry, Alpha clip. There we go. Now you can see what they look like. Now let's come into this one and we're going to do the same thing. Blend mode will be on Alpha clip. We'll grab this one. I'll just make sure I'm on the right one, fabric cloth red. I don't want that. I want to be on the cross sorts, and then I'm just going to come down, blend mode, put it onto Alpha clip, and there we go. Now, is there any others that I need? Yes, there is. There's a lot of them. Let's come to this blood. Again, where is it, this is the blood two. I'm looking if I've actually got a shader on this one. There we go. Blend mode Alpha clip. There we go. Let's see if this one. I'm just seeing if actually if that's worked. Blend mode is alpha clip. Let's have a look. I might have got that the wrong way round. I'm just going to test it on this one. I'll look at my other blood, blend mode, Alpha clip. That's disappeared. Let's try Alpha hash. There we go. Alphah that's the one for the decals then. Alpha hashed and there we go. Let's come finally then to our actual helmet and we're going to put this on blend mode, Alpha clip, and also the shadow mode on p Alpha clip. There we go. Double tap the and there is our helm as well. Now you can also see that because I forgot one here, because we're actually in V as well that we do have some issues with the actual colors. It just brings them out so much brighter, so just be aware that palips on. Is that right? No. Let's try alpha hash. There we go. All right. You can see that because we've done that, it just brings out the color somewhat. You can see now that this is looking a little bit pink instead of our red, and that's not really something we want. We would go in and actually fix the colors on there. All right. Now you can see that the way then to actually render out an EV is going to be pretty much the same way. These are your samples. 64 is fail low. Let's say I put this up to 500 samples like so, and then I'm going to hit the render button. First of all, though, I'm going to make sure wire frame come to render and render image. You'll see that even though it's at 500 samples, it's going to be relatively quick as you can see. You can also see what happened is. It rendered it out and then straightaway what it did was it brought all that composite in in that we did as well. You can see though the colors are not quite right in this. So make sure as I say, if you use an EV, you sort out your colors before. Now, one thing I do want to show you is if I put this up let's say to 3,000, bearing in mind that the render from what's it from cycles took 3 minutes with de noising and it was going to be I think 15 minutes without it, something like that. So if I go now to render image on 3,000, let's just see how long this is going to take. Shouldn't take too long, actually, even though it's on 3,000. I reckon something we're nearly done already. A minute, something like that, depending on what machine specifications you're running. Let's actually let this render out. As you can see now, it actually rendered, I think, and I think what he's doing now is actually working on the composite some reason actually, it didn't actually work. So let's do it again. So render image. There we go. Image is rendered now. So And there's our image. So you can see that looks really, really nice. You can see it's quite high quality actually for that quick amount of time. That is why you might want to use either. You can see as well, I miss these and these on here. I'd have to go in and fix all those. All right. So that's pretty much it for that part of it. The next thing then is we've discussed renders. We've discussed compositing. The last thing we want to discuss is just to show you how to set up a quick turntable. So we'll discuss that on the next lesson. All right, everyone, so I hope you enjoyed that, and I'll see on the next one. Thanks a lot. Bye bye. 112. How to Present our Work with a Turntable: Welcome back to everyone to Blender and Unreal Engine, becoming agon prop artist. Now, you can't be a Dungeon prop artist if you can't show off your weight properly, so I've decided to include this in the actual course. It's really good, I think I'm including this because it's not something that a lot of people want to do. It might be just a few people out there that want to do it, but still it's very important. All right. So the first thing you want to do is you want to bring in a actual circle. Shift A. Make sure it's a circle on the curve as well. So go up and there you go, you circle then all you're going to do is you're going to drag this circle out. Now, the reason we're going to do that is we're going to use this circle to actually go around our actual assets with. So what I'm going to do now is I'm going to grab my camera. I'm going to grab my circle. I'm going to press Control P, and you're going to click flow path. So it's Control P, follow path. Now, you will see that my camera is all the way over here, so you can see we've got a line there going over there. Now, what we want to do is we want to grab Sorry, our circle, we want to press tab and you want to come to wherever this line is going. Press Shift S, curse to selected, tab, come back to your camera, Shift S, and selection to curse that then is going to put the camera there. Now, we do have another problem in that our camera is looking at nothing. Let's worry about that in a minute though. The first thing you're going to note is if if I press space bar now, that the camera is zooming round, and it's zooming around, and then it should cut off, but it's not going to, there you go. You just cut off there. All right. And you can see how fast that camera is moving around. That's not ideal. Let's go to our layout and lop what's going on. I'm just going to put this because we're in v, so let's put it onto real time rendering. What I'm going to do is I'm going to show you why that's happening. At the moment, we have this on 250 frames. Now, if I come to my Actually, let's hide this out the way. Let's come then to our circle. Come over to the right hand side. You will see you've got something called path animation. You probably didn't notice that before, but now you will every time you do it. Open this up and you'll see the amount of frames that this is based over is 100. We want to set this to be the same amount of frames as how many frames we have in our scene. 250. Let's put this on 250. Now when I press space bar, you'll see this camera moves much more slower. And it's zooming round and it will end where it begins. As soon as it gets to two 50, it will just carry on. So there you are two 50, and it just carries on. Now, we just need to make sure that even if we set this to 100, we make sure that we set this to 100 and then what that's going to mean is that we have the same amount of time as the camera takes to go round for our frame. In other words, you can do actually a looping kind turntable or something like that. Now, the next problem we have is if I go to my camera, press space bar, you can see I'm not seeing anything, so that's not what we actually want. What we do to fix that is we're basically going to use again, the center of the world. I'm going to press Shift A, I'm going to bring in empty. So let's bring in an empty. I'm hoping the empties appeared over there, so don't want it over there. Shift de kiss the world origin. Shift, let's bring in an empty, not a plane. I will get there. Shift, empty, plane axis, and there we go. Now we want to do is want to come back to our camera. And we want to go to one of our options, which is this here and you'll see if you over over constraints, and you want to just basically constraint this camera to this actual empty. So if I come in now, come to constraints, I want to track two. I want to track to this empty. So all I'm going to do I'm going to zoom in a little bit, find me empty. I'm going to come over then and the target is going to be if you hover over, it says, object empty, click that on, and now if I press zero, you'll see my camera is looking straight at it. Now, if I press space bar, this is the actual view you're going to get. That's really nice. Now the thing is, when I start so on zero frame, It's going to start on here and I don't really want that. That's not something I want, first of all, I might want it to start over here, for instance. How do I fix that well. Instead of moving the camera, you don't want to move the camera anymore now. What you want to do is move everything else. In other words, you want to move the empty and you want to move things like your circle and things like that. You move everything together. What I'm going to do is I'm going to move now my circle. As I move my circle, you'll see my camera moves as well, and that it actually still tracks to this empty. Now if I press zero and now I press art and Z I can actually move it around to where I want it to start. Let's say I want it to start over here. Now, we have got another problem. First of all, the camera is not far enough in. What I'm going to do to fix that is I'm going to press the S boton. That's actually then bringing in the circle, so you can see I'm bringing in the circle. Now, the other thing is, I can't see what I'm looking at at the moment. If I bring my circle up though, There we go. We can now actually have a really, really nice view. Also, we can bring up our empty. So if you bring up your empty, you can get it more in frame, so the middle of the frame. Now if you press space bar, you will see that we've got a beautiful view going around perfectly in the center. You might want to take each of these actual parts and have a turntable or something like that. And going. Now the thing is, we want to render this out. Now, bearing in mind, the more actual frames you have, the longer it's going to take. And if you're talking about 10 minutes for each frame, you can imagine that times that by 250, that's a lot of frames. The way around that is to normally do a lower render when you're doing things like this. For instance, if I came now and I put this onto, let's say 100 Then what I want to do is now I want to actually render each one of these out. I'm going to do is I'm going to come to this little light printer sign here. What I want to do now is I can see my frame range. So this is basically the animation is going to go 1-250 because that's one of great set out down here. You can make it less or start sooner or something like that. Then what you want to do is you want to come down and you want to put this Leave this actually on eight and 15 when you're doing actually a turntable because it's just going to up the time that much more, and then all you want to do is set this to wherever you want it. Basically, we'll go to our renders and I'm going to say in here and I'm going to call it turntable one. I'm not going to actually render many of these out. I'm just going to show you so you're now to work it. Turntable click accept. Now instead of going up and clicking the render, what you want to do is you want to click animation. What you'll see now is for zoom in, it's going up the frames now as you can see. So frame one, s two, and you can see this actually turning in real time. Now, again, stop this, just press escape, and then close that down. And then what we'll do now is I'll just show you in my renders now, I've got all of these turntables. Now, what you need to do then is, you need to drag these in to a piece of software, which is going to combine them all, and then you lend up with your actual turntable. Of course, you can actually do the turntable with cycles render. It's just going to take much, much longer. There we go, everyone. That's pretty much everything covered as regards to how to render things out and things like that. Now, one thing before we actually finish them is, I just want to show you on that deleted those you can actually come up here and change the size of the resolution. Now, bear in mind that 1920 by ten 80 is quite small. If you want to square image, for instance, 2048 by 2048, you'll see then that you do have to mess around with the camera again. Also, just remember, it's going to take a lot longer to render those out because you like probably adding 30% extra size onto that. So just bear that in mind. One last thing I want to talk about as well is if you come to your camera, so let's just put that up. I'm going to come all the way down to my camera. I'm just going to click on there, find my camera. Let's say you want to do a straight down image. You want this perfectly straight. I'm just going to get rid of my circle now. I'm going to then come in and get rid of this empty and then going to go to my camera, and I'm going to just set it back up. I'm going to do is, I'm just going to put this on camera to view, and I'm just going to set it up like so. Now the thing is, if I want a straight view on this, I'm not actually going to get as you can see, it's very hard to get. But if you come over to your camera option, so if you click on my camera, come to my camera options, I can change the perspective to alto graphic. And now you'll see that's more or less a straight on view of something. You can see I just need to line it up like so. So I don't forget you've also got that. So I've discussed clip in. We've discussed different types of views and things like that, and basically I'm just going to put it on there, And then we've discussed turntables, we've discussed renders, and we've discussed composites. So that's pretty much everything you're really going to need to actually work with. The one thing. The one thing that you might want to do finally is you might want to have a transparent background. You might want to add those in post production or something like that. To do that, all you want to do is just want to come over the right hand side and on B, you're going to have one that says film, and you're just going to turn that onto transparent. You'll notice now, even though I have HDRI in the background, it will actually get rid of all that, which makes it really easy at bring in photo shop because you already have a transparent background. You can also do the same on cycles. I come down to cycles when this loads up, you'll also see Okay. Just let it load up that it actually does the same thing. If you want to turn it off on cycles, it's exactly the same thing, transparency, like so. All right, everyone. That brings us to the end of that part. On the next part, what we're going to do is we're going to be setting everything up ready to use in real engine. This is it for the whole course, if you don't want to go into real engine. I really hope you enjoyed what we actually learned on the course. I hope you end up with some fantastic models that you can use in your own you know, productions or even your own dungeon that you might have created or something like that, or your castle that you might have created. So thanks a lot of everyone. If you realize the course, then leave us a review down below, and until next time, happy modeling, and I'll see you on the next one. Thanks a lot. Bye bye. 113. Lean how to set up Blend files Ready for UE5: Welcome back to everyone to Blender and on your engine becoming a dungeon prop artist, and this is where we left off. Now, let's get rid of the few things. First of all, let's come and get rid of our camera. We're not going to need that. Second of all, we're really not going to need this in anything other than object mode. So there's object mode. And then next of all, what we're going to do is we're just going to tend that off so I can actually see everything that I've gone here. I'm actually going to pull this down. Because this is the one, I'm going to need more than anything right now. I'm just going to move those all up just so I can work with them a little bit better. The open up because actually once you grab everything, it just opens them up. I find that quite annoying, but that's the way it works. Let's close them all up. We've actually got a plane as well. If I turn a plane on, you can see this is my ground plane. We don't actually need that. We're not going to send that through to real, so there's no point in having that. The other thing is now at this point, if you will see that we've actually got materials in here and things like that. Now, what I would do personally is I would simply save this out now, save it out. And then what you're going to do is you're going to do another save. Saves I'm going to actually call this once it loads up, it's taking its time. I'm going to call this. You can see dungeon props. I'm going to call this dungeon props, unreal. Set up, something like that, and then presenter and saves. Now you'll see that this has changed and you can see the top of it now is unreal setup. I just want to blend files because I don't actually want to have all of the things like all of these in there, things like that. What I'm going to do now is I don't need anything in here except the assets that I'm going to use. I'm just going to come in and go to elite. All right, that's pretty much it. So now we've actually deleted all of those materials. So actually, we've not deleted all of them. Are they deleted lets? Yes, there's nothing actually in there. So what I'm going to do is, I'm just going to right click and I'm going to come down and delete that out of the way. All right, so that's all done. Now, we've got just everything that we need. I'm just making sure we've got camera and lightning in here. I'm going to actually delete that out of the way as well. So come down and delete. I'm also going to delete this the human that don't actually need him in anymore. So now we've basically got everything. We need. Now what I'm going to do is I'm going to grab all of these, and I'm just going to move them over to the right hand side. Let's work now one by one. We've got our bowl or jog and things like that. What I'm going to do is I'm going to grab all of those. I'm going to move them over two here, I'm going to press one. I'm just going to make sure, first of all, that they're all above, as you can see, above the ground plane. Then I'm going to do I'm going to move them to the side. Now I want to set all of these down to the center. In other words, it's a bit tricky. What you need to do is well we know they've all been set to the center. Then what you need to do is you need to grab them all, let's say, And then what we're going to do is going to press Shift S and then selection two cursor. And that then's going to move more, but we don't actually want to do that. We want to move them independently. So let's see if that. Yeah, there we go. Click the offset off, and now what we can do is we can pull them all onto the ground plane. So now I can just grab them. Hold them all down. I'm just making sure that they're all on top of that ground plane. Which is a little bit tricky to do when we've got so many of them, but that's what we need to do. We can see we've got one down there. Just going to pick it up like so. Then what I'm going to do is, I'm just going to hide that one. Come to this one, grab this one, hide it and just hide them out of the way, and now you can see that we can bring them all down, so you can see it like the spoon and this, I might as well join those together, so Control J. Then one going to do, I'm going to press TH, grab them all again and I'm going to press B and then I'm going to press right click Set Oigin 23d cursor There we go now, they are ready actually for real engines. Now I can just close that up. Hide that away and now come to that table and chairs, and I'm just going to do exactly the same thing. I'm going to grab them all, like so. I'm going to just move them over to the left, and then I'm going to press Shift S selections cursor. Make sure the offset is on, and then what I'll do is place them all in the center. Then what you can do is just lift them all up. The first one I'm going to lift up is this one here. I'm going to then grab it with H, and then going to grab this one and just pull it down. Basically the reason we're doing this is when loop brings these in to real engine or when you do, you basically want them to be in the center of the w like so. All right. So now you want to do is press OH, bring them all back. Grab them all, make sure to grab right click origin 23d cursor. There we go. That's the second lot. Now, you will notice as well that I'm actually keeping these in the center and just hide them out the way because this is basically the quickest way you're going to find. Hide those out the way now, there we go. I'm working down these and this is another reason why we're pumping collections because of the fact it just makes it so much easier. What you can do is you don't even need to move over there now. You can just open it. Grab them all like so, and then just shift S selection, two cursor, and then just turn this off like so and then lift them all up and then work on them one time. You can just see how quick this actually is. Let's grab this one here. Bring it up, hide it out of the way, bring this one here, hide it out of the way, bring the diamond in, hide it out of the way. Little hide. Hide. Then finally, bring this one, we've got one more left hide. Bring it down. Al tate now, bring everything back, grab everything, and then right click Set origin, two, three D cursor, hide them out of the way. Now let's do our actual books. So we're going to go to our books, which are all of these here so you can see them all here. Let's click on them. Open this collection. Let's grab them all. And then what we're going to do is press Shift S. Selection cursor because my cursor is over there. Press the dot board and now you can see that they're all, not in the actual center. Again, all we need to do then is press Shift cursor, selection to cursor, and then just turn the offset off, and then is just going to put them all in the middle. That doesn't seem to work. I'm going to do is, I'm just going to grab these first, and then what I'm going to do is shift, selections cursor, and then I'm just going to keep offset. There we go. Next work. Again, shift S, selections cursor, keep offset and see if it's that bot and there we go. Now, let's press one, let's grab them all. Then all I'm going to do is just pull them like so. I'm going to grab this one, hide it out of the way, grab the next one, pull it down, hide, hide and just keep pulling down. You can see it's really, really a quick technique just to bring them down like so. I've got one. Yeah, we'll bring this one down first, then bring that one down, and then ltate bring everything back now and then B to grab everything, and then all you're going to do is right plate set origin to three D cursor. That's those done. Now we can just put that add them out the way, grab the next ones. I'm not even going to go over there again. I'm just going to press Shift S, selections cursor, and then I'm going to just going to see if we're going to do is offset and there we go, pull them all. So grab barrel, H and then just bring these down. It's exactly just this rinse and repeat. L so then lg. B, make sure you've grabbed everything right origin, three D cursor, and that's all of those done. Let's hide them out of the way. Let's just grab them with B, hide them out of the way. Now, let's come and put that up. I'm going to hide that and I'm going to grab these now. And what I'm going to do this time is, I'm going to press shift S selections cursor. And there we go. Actually put them all in with the offset, so we don't need to worry about that. So now what I'm going to do is actually didn't know about that point till now, so I'm going to come hide those out of the way. Let's hide this one. Let's bring this one down. Like so hide it out of the way. And finally, this one. Hide it out of the way. Let's press al tag. The reason I'm doing them, by the way, like this is just to make sure that I get them all. Right click Set origin, two, three, the cursor, and then just c, put them all, hide them out of the way. All right, my scrolls, but you can see how quickly we can actually do this, ship selections cursor, pull them all. Again, we're going to come to this scroll. Hide it, bring this one, bring it down, hide it, this one. Bring it down, hide it and finally, this one, bring it down and tate, bring everything back. And then all we need to do is right click the origin three Dcursor, put it up and then hide them. What we'll do then is on the next lesson is, we'll carry on. And basically as soon as we've finished all these, then it's going to be handed over to loop and then we can actually start discussing how we get those into real engines. Pretty much finished with this now. I'm just going to save it out, and then I'll see you on the next one, everyone. Thanks a lot. Bye bye. 114. Final Blender Lesson & Finalizing our Project: Welcome back everyone to Blender and real engine becoming a dungeon prop artist. Now, let's come to our cage. I'm just going to grab our cage. Now, this one is a bit different. You're going to press Shift S, selection cursor. Just bring it in. And what you want to do this time is you want to set this wherever this part is going to be set. You basically want this, bring it down, this to be in the sense when he brings this in, he's going to bring it in to where this ones to be near the wall. Now what I'm going to do is I'm going to press right click and set origin three D cursor, and then I'm just going to put that up and hide it out of the way. Now, the bookcases, they're going to be the same as the other one. Shift S, selections cursor keep offset. Let's bring them up then, so I'm going to bring that one up first and then bring this one down, and then just grab them both right click, origin to three D cursor. That's those done. Let's close that one up now. Let's come to our banners. Again, the banners, they're going to be a little bit different. Shift S, selections cursor. What I'm going to do is this time is the bottom, where the floor is is going to be where this actually goes across. So make sure you set them up like that. Like that, grab them both, and then right click to origin to three D cursor. Just want to check to make sure that my bookcases are set to three D cursor, which they are so let's hide those. All right. My stocks, let's move them over and press selections cursor, bring them all. Like, bring this one down, grab them both, right click the origin, three D cursor. Hide them out of the way. Torches. Now, the torches are going to be similar to the actual banners. I'm just going to bring them halfway point, something like that. Right click the origin two, three D cursor. Let's hide them out of the way, and then we've got the straw bed, shift Let's bring it up. You can see here that it's not in the middle and I want it in the middle. I'm just going to move that it's because they've got a pillow. It's not perfectly straight or anything like that. I'm thinking that it should go in like that or it might be like the banners where the top of it goes. I'm just going to pull it down, actually, something like that, and then right click set origins three D curse. I'm going to give it like that. Luke might want to change that, but I'll leave that with him up to him there. All right. Now we've got the candles. The same thing. Let's press shift, selections curse to keep offset and let's bring up this bottom one first. Let's hide it out of the way, and then we can bring down all of the others. And then just pressing H jaws to hide them out the way. Finally, I think this one is the last one. Yes, it is. The B, grab everything, and then right click gthree D cursor. You can just see now because we've got a really, really good technique going, just how fast all of this is. Shift S, selections cursor. Let's bring them up then, so this is going to go there. The shield then is going to go just there, and then the helm is going to go round a about there. B to grab everything, right click, ag two, three D cursor. Pide out the way. Finally, the last one, guiltine and the Shift S, bring them up. You can see this is a bit out. So this guillotine is a bit out. So let's come to the guillotine, first of all. Press Control transforms, right click the origin to geometry, and you can see it's putting it up there. I don't really want that. I'm going to do is I'm going to pull it more in the center. Then what I'm going to do is I'm going to grab this one. Now, this one is okay. I'm just going to grab them both. I'm going to press shift. Sorry, right click Set origin to three D cursor. All right. That's pretty much everything done. Now, let's press tag, bring everything back. I think we'll just have to come down, click them all on line. And you should end up with a bit of a mess and everything in the center of the w. Let's go to file, save it out. That then brings us to the final part of the actual blender part of the course and it's fully settled, should be fully set up for real engine. All right, everyone. I hope you really enjoyed that. If you did, please drop some comments and leave a review or something like that, just to let other people know how comprehensive and how good this actual course is, and I'll see on the next one, as always, happy modeling everyone. Thanks a lot. Bye bye. 115. Exporting Assets as an FBX file: Hello, and welcome everyone to Blender and Unreal Engine, become a Dungeon prop artist. My name is Luke, and I will be showing you how to set all of your created dungeon props within Unreal Engine pipe. Now, before doing this, I'm just going to let you know that, yes, there is a blender Turn real Engine pipe plug in that allows you to send assets directly onto game engine. It is literally called Send To Unreal Blender addon and it will allow you to just send all of your textured assets directly onto the project. But today, I will show you how to set up all of your materials from scratch and how to manually adjust all of its textures. It's a bit of a longer process, but in the end, you will have a greater control over your assets within on real engine five. So yeah, without further ado. Let's get started. So to start off, we got ourselves a real nice set up already. We got all of the origin points already set up, and it's really important because real engine takes the world origin of each one of those props and sets them as origin points. So we've got to make sure that all of them are set properly, and all of the props are already looking quite nice, except maybe if we were to click on a cage and click Shift and He just to hide everything except for the selected option. We're going to see that this cage is set in the middle. And instead of what we want is we want to make sure that this is set to the side of our placement area. For example, right now, because we have the origin point to be right in the middle, when we're going to be dragging it into our world within unreal engine's going to be placing it in a really weird way. Instead of what we want is we want to make sure that we are attaching it to the side of a wall using this pole over here. What I'm going to do is I'm going to select this, I'm going to click G x, and I'm just going to move it to the side like so. This way, we're going to have it right to the side of our origin point. Actually, I think I'm just going to click G and D and just going to raise it up like so. So we'd have it at the very corner of it like this. And I think that's going to give us a much better result for when we're placing our acid. Now we can click Alt and H to unhide everything. And I think I'd like to check the bed as well, since I know that's also going to be attached to the wall. I'm going to select the bed. I'm going to click Shift and H, and I'm just going to get these points off the side of the wall placed to the world origin point. So I'm just going to have this bed selected. And I think I'm just going to click one or actually going to click free to go to the side view. Go to click G and y, and I'm just going to move this to the very side, like so. And we can either move it down a little bit like so, but it doesn't actually matter as much because we're just placing it at the very side of the wall. So we have a lot of control on how high or how low we want to place this type of a bed. So now we can click and H, John hide everything. We can check how the rest of the assets look. And I think we can also select the batters that are placed at the very bottom. So I'm just going to actually just click and hold and drag at the very bottom so click AldH and have both of them selected since they're kind of similar of an asset. I'm just going to show it as is going to hit escape to cancel by move. Option, and I'm just going to have both of them selected hit one or three for this matter, and I'm going to click G, y, and move it to the side like so. That's all it takes in order for us to set up all of the assets necessary to place within the world. I'm just going to click and H and just check the rest of the assets. We might need to check the small assets as well. So I'm actually just going to hide most of these larger ones like so. I know that weapon rack and guiltine are going to be quite large. The treasure is going to be quite large as well, table, and then barrel crates, treasure chests, scrolls, cage cases are going to be quite large as well, and then finally, straw bed and of course, the orchard devices as well. I'm just going to hide them, so we can see all of the smaller asset lakes this way, even if they are over clipping, we can still see where they place their general position and whatnot. And we can somewhat indentify which ones would cause us an issue. So, for example, right now, I can see that torch might give us a wrong type of replacement. So I'm just going to select it. And now, because we have multiple of them hidden instead of just kind of clicking shift N H and alten H, which would unhide all of our already hidden assets, we're going to click the question mark icon that has a tilted type of a bar. So by just clicking this, we're going to get ourselves an isolated view. And that's different to the hidden view because it keeps all of our hidden items still hidden whilst it's just going to isolate all of our selected assets. So by just unclicking it, we can remove that isolation and just get back to our usual hidden view. So that's quite handy whenever you want to check multiple assets and whenever you're working with multiple chunks of props, for example. All right. So now, when I have this selected, I'm just going to check the placement, and I think I want this to be a little bit higher, actually. I'm just going to click G, and I'm just going to drag it a little bit higher like so. Now, I'm just going to click the question bar tilted. Dash, and I'm just going to get back to the view. And yeah, by looking at it, it's looking pretty good. Neil did a pretty good job at it. And I'm just going to click Alt and H to hide everything. I'm just going to make sure that I hover my mouse over the ten collection items, and I'm just going to click Alt and H over here. So this will unhide all the items like so. So now we got everything ready and sorted. We're just going to have everything selected. So what I'd like to do is just simply drag ourselves a box like so across all of our assets. Then we're going to go onto file. We're going to click Export, and we're going to select FBX file. Since that is the standard for exporting out objects. It's either FBX or OBJ, but FBX also supports animations, and that allows us to have a little more control over what kind of settings we want for this type of items. So right now, once we click on it, we have a bunch of settings on the right hand side. And if we're working with just assets, I prefer to just take on object types and set it to be only mesh. So we're just going to select it like so. And this way, we're going to only get ourselves all the assets of those meshes exported. Then also, I'd like to get ourselves the selected objects option on as well. So all of the selected items are going to be exported. In case we have some light sources or some additional assets within our scene. We're going to be just exporting our selection which we created by just dragging our box across all of those assets, like so. Afterwards, if we were to scroll down, we're going to keep ourselves the same scale. If we were working with centimeters, for example, and building all of those assets, we'd have to increase the scale to 100 to change and convert all those assets from centimeter scale to meters. But since Neil was using a human scale, we're going to get all of our assets in the right kind of a size. We're going to get all of our assets in the right kind of size, so that's going to be quite nice. And if we were to scroll down a little bit, we get a couple of other options. One of them is going to be geometry. If we were to click and open this tab, we're going to get a couple of extra options. So within real engine, they don't use normals only instead. We're going to select instead of normals only, we're going to click on face. And this will just make sure that all of our information for smooth edges, the ones that we used in regards to if I were to scroll down a little bit over here. So tos moves normal. Remember using that, this is going to be exported through this moving phase. And otherwise, if we weren't changing this, real engine wouldn't exactly know how to import the assets properly with those smoothing out edges. So instead of what it would do is it would just move it everything within an asset, and we don't want that. So just make sure that we're having smooth phases on. Then afterwards, if we were to scroll down, we also have armature, which, honestly, we are not using any bones at the moment. We can just leave this off. And there's also an option for bake animations. Now, if we're just exporting out just plain assets, without adding animations, I recommend you ticking this off. It'll just make sure that the entire asset is more optimized. Even though we're not using animations, just by having this ticked off just allows the program to read the file better and faster. So we're just going to keep this off. Then we're just going to scroll all the way down, and we're pretty much done with our setup. So what we're going to do is, we're just going to create ourselves a nice preset for us to use whenever we want to export all of our assets. So what we're going to do is just we're going to go all the way to the top, and we're going to just click on this plus symbol over here, which will create a new operator preset. And we can rename this so we can call this mesh only, for example, or real engine five. We can click Okay. And we're going to get ourselves within this area, something called mesh only for a real engine five. So if we were to click on this, even if we were to have multiple settings changed off, if we were to just go back onto this preset, it's going to give us the same type of a setup, which is pretty nice for whenever you want to have different variations, for example. So yeah, now that we're done with it, we can pretty much select where we wanted to export it. I'm just going to export it over here. Like so. And I'm just going to rename this to dungeon props, like so, and we're going to export an entire bulk in a single FBX file. We're going to be talking on Y in a second on when we're going to be actually importing the files within on real engine. But for now, all we're going to do is once we have it renamed, we can click Export FPX. We can now click Export, which will give us an FBX file with all of our assets within a single FBX format. So yeah, that's going to be it from this lesson. Thank you so much for watching, and I'll see you in a bit. 116. Creating New Unreal Engine 5 Project: Hello, welcome back. I've run to Blender and real Engine, become a Dungeon prop artist course. In the last lesson, we left it off by getting ourselves a Dungeon prop PX file exported from the blender. And in this lesson, we're going to continue on working with Unreal Engine itself. But of course, we need to set ourselves a project first. So we're going to go into the Epic Games launcher. I've got myself already opened up, and within Unreal Engine. We got ourselves library, which, if we were to click on it, we're going to get ourselves all of your projects and engine versions and also all the necessary assets underneath within a vault. So everything that you want out of the Epic games is basically within the tab over here. And yeah, to get ourselves started, we're going to get ourselves an epic games launcher. Yeah, to get ourselves started, we're going to open up ourselves and unreal engine launcher. So for us to do that, we've got to make sure that the version is going to be 5.0 or higher. I'm using currently 5.0 0.3. If you're not seeing anything in this type over here underneath the engine versions, make sure to click on this plus symbol over here, and I'll give you a new type of a window and just make sure that this is set to a highest one. I can't do it currently because I already have a highest one right now, and it doesn't let me select it basically. So once you have it selected, just make sure to click Install, and you're going to get yourselves an unreal engine. Ready to go. But before going into it, actually, what I'd like to do, what I recommend you doing as well is go into the options for the launcher itself. So by clicking on this arrow over here, I recommend you going into options like so, and there are a lot of unreal engine installation options. By default, they're going to give you a lot of unnecessary cluster type of options selected, and they're going to basically take up a lot of unnecessary space within your launcher. So what I'd like to do is if we were to scroll down, we've got a lot of target platforms. Now, if you're working on a mobile game, if you're trying to make something for Apple or Linux, You can keep these on. But basically, by default, it the unreal engine is using windows as a platform, and if we were to be exporting projects within those platforms, we need them ticked on, but they are also taken up a lot of space. So I recommend you having every single one of those ticked off. And then if you were to hit Apply, you're going to get yourselves a much lower space for the unreal engine. Have these other options ticked on. Should be on by default, which is pretty good, especially since we get ourselves the template for featured pax, which allows us to create ourselves a third person template, which is exactly what we're going to use within this course. So once we're done with that, we're going to apply, and now we're going to go ahead and launch our version. So this takes a while to launch, but once it's done, it's actually opened up, minimized. I'm just going to go ahead and open that up. And we're going to get ourselves this sort of window. So it's going to show up with recent projects as well as a bunch of templates on the left hand side, and we're going to go into games template, and we're going to select ourselves a third person template, which will allow us to create ourselves a nice scene. That's going to be having a playable character within it, and we're going to be able to move around within our scene nicely. So that's going to be quite nice. So, yeah, once we're done with that, we're also going to make sure that we have a project that fall set as blueprint. Since we're going to be setting up certain blueprints within our scene, especially for the light flicker, we need to make sure we have blueprints on. And then afterwards, target platform, desktop and quality preset set as maximum. It is going to give us all the necessary presets in order to get ourselves a real nice setup for starting point. So afterwards, we also have something called SAR content, which is actually quite easy to get imported into a project afterwards if you want to. So I usually keep this off, and of course, we have ourselves tracing. Which is quite performance heavy. But if you have anything above 2060 in regards to the graphics card, you might consider this option, but honestly, even without it, unreal engine is going to be looking quite nice in regards to lighting since it is using loomin technology. So let's go ahead and keep this off as well. Then afterwards, within the bottom, we have ourselves the options for where we want to create ourselves the project. So I'm just going to quickly open this up. And I'm going to and I'm going to get myself within dugon props. Then I'm just going to create ourselves a project over here, going to call this unreal engine. Five project. I prefer to keep it as a separate folder, even if we're going to create ourselves a new folder by just changing up the project name. So I'm going to click Select Folder. And then afterwards, it's going to ask us for a project name in the bottom right hand corner. So we're going to call this one A dungeon ps. And actually, it says that project names may not contain spaces. So in order to avoid that, we're going to just delete the space, and I'm just going to do underscore. And that's going to give us the right type of a setup, since for some reason, real engine doesn't like us to have any spaces within our naming. Now, if you're planning on using a different type of project to set up all of your assets within that area, I recommend you to still create yourself a new and empty project to work on these assets. Since later on, I will be showing you how to import all of those assets into another project and how to make them reusable within basically any project within a real engine. So that's going to be quite nice. But yeah, anyway, once we're done with this, we can go ahead and create. And that's going to create self a new project, and it's going to, of course, take some time to load everything up. But once we're done with it all, we're going to basically get ourselves this sort of a window. And I'm going to leave this lesson as is. So in the next couple of lessons, we're going to be introducing ourselves to the Unreal engine to its layout and its view port settings. So thank you so much for watching, and I'll see you soon. 117. UE5 Introduction to UI: Hello, and welcome back to Blender and Unreal Engine, become a Dungeon prop artist course. In the last lesson, we left off by creating ourselves a new project for Unreal Engine. And in this lesson, before we actually continue on and actually set up all of the props within our scene, we're going to go through a quick introduction for Unreal Engine itself, and hopefully, get ourselves more familiarized with the program. Now I'm going to play a quick video on it, and I will be seeing you in a bit. Hello, and welcome everyone to Unreal Engine five basic Statorial video in which we're going to introduce cells to the Unreal engine five software. So Unreal Engine five is an engine, which was firstly developed as a game engine. Over these days, it's been widely used within other creative fields as well, such as architecture and film industries. But even with all the versatility and design changes to appeal the industries, a lot of the co design photo layout has been kept as the game engines. And right now, we're going to go through the set layout. So it would be easier to follow along the future lessons. So first things first, we're going to start off with the upper left corner. And within it, we'll find a safe button, which we can use control and S to save our project. This, however, will only save the current level. And if we're making changes outside of the level itself, let's say we're having a material or an asset edited, we'd have a different window that we're working on, and we'd have to save this independently. So it would have a safe button or we can click Control and S, and that would save the window that we're working on only. So basically, if we're working with different window, we need to make sure that we save that out, and then afterwards, if we're making changes for the level itself, we need to save this out afterwards. So if I were to change this, we can only have it saved by clicking Control in S and saving it out. You have made a new level, you'd be prompted up with naming it and selecting for where your location is going to be for the level. Then after which we have select mode. By default, you're going to be within a select mode, which you'll be able to use to make selections for within your asset. You can also go ahead and use this to change it into landscape, fliage mesh paint, and other types of modes, just to change up your workflow depending on what you're working on. But by default, most of the time, I'd say, 80% of the time, you'd be working on a select mode. Moving on, we have quickly add the project. This button will allow you to add more assets into your project, the simple default ones that you normally get in within any type of rendering software. The basic lights, shapes, and such can be found here. If you want to search within it, you can click on it and search for light, for example. This way we'd be able to see all the assets with light within its name. What you need to keep in mind, though, is that when you click on it, you need to make sure that your mouse stays the same within this icon over here. Otherwise, if I were to, for example, drag my mouse to shapes, then search for lights, you'd notice that it only searches it within the shapes location. Whenever you're searching for an asset from within this bar, just make sure you keep the mouse table within this icon like so. Then next up, we have an icon that if we were to click on it, we'd be able to have some options for creating blueprint classes. Blueprints work similarly to a sort of a prefab. However, for the sake of introduction to Unreal Engine five layout, we don't need to get into it too much. So the next one, we have a level sequence and mass sequence that we can add from this button over here. This is used when we're going to be needing to set up our project to be rendered out. But again, let's move on with the rest of the layout. We have a play button. This will just start off the project, and if you have a bird person template, for example, like I do, I'll just set off your character to be played at. It'll also set up all the simulations and whatnot. So this makes it really nice to just check out your project. And when we click Play, we get to be loaded in within our level, and now we get to walk around it and actually experience what's it like to be within or build it level. We can jump around, we can run around the way we want it to be, and it's actually quite nice to see what we're like within our own built level. We also have this free dots over here, which, if we were to click on it, we have some additional settings like simulating the entire project. This will just allow you to hit play button, but without actually needing to lose control over the edit mode. Again, we don't really need to go too much into it. But basically, this section over here will play and stop your project. Then after which we have platforms, but this is only for when we're breaking out our entire package as a game, and we don't really need to worry about this. So let's go ahead and move on. After which, we have a settings button. This will include a sort of settings like project settings and plug ins, which can also be found within this upper left corner over here. So basically, this just make sure that everything is in one place. We don't really need to go through it as they're usually not needed for when we're creating or scene. Anyway, moving on, the outliner. Outliner will have everything that contains within your level, so it'll have all the assets within it. And right now, if I were to select any type of an asset from within this level, like this one over here, it'll right away, make a selection within our outliner as well. After which we have detail stab. Detail style will give you all types of options for your selected asset. So I'll include all the type of information that it requires to be placed within the world. For example, firstly, we have transforms, and this will include the scale, the rotation and location on this specific asset. We also have the type of static mess uses as well as the materials. Each type of asset would have its unique type of information set within it, which can be found from detailed stab. After which, if we go down to the bottom left corner, we get ourselves content drawer, plug log, and CMD. Content drawer is by default hidden, but if we were to click on it, we get it opened up. Now, if we click on anything else outside of the content drawer, by default B hiding it away. We can also open up the content drawer by clicking control and space. You give us an easy access to where our files are located. The content drawer is basically a file manager. You keep all your folders, all your assets for not only the level, but for the entire project of the ng five. We can also dock the content drawer by clicking on this button over here by selecting it. We simply make sure that they're always going to be within this location, and even though we click off the content drawer, it is still going to be within it. Can easily do this step by simply clicking on disclosed minor tab and we can open up the contra and draw just like we used to. By clicking control in space. The output logs are pretty useful for whenever we want to find out some information if something is giving us errors. If our work is not focused on coding, we don't exactly often use this. Let's go ahead and close this down. MD is useful every once in a while for whenever we want to make a command. Right now, I'm not going to go too much into it, but we can make use out of it and do things like taking high quality screenshots or getting a different type of view within our viewpoard. Okay. So now we walked all the way around our window. Now we're finally going to go ahead and talk about what's in the middle of it. By default, we're going to get ourselves a preview. Going back to the content drawer, within it, we need to enable certain settings. By click on this button over here. We'd be able to view the type of different folders that we have. Usually, I recommend you to enable the show engine content and show plug in content together you get more out of our unreal engine pipe. So after you enable it, you get yourself a folder, other than a content folder, which just engine. This will have all types of presets and plug ins which we can make use out of and speed up our created process. Something to keep in mind though is that this is not part of our content. Tough basically, this is already within the engines folder. And if we were to change any one of these folders, we'd basically be changing it for entire on real engine five, meaning that even if you create a new project, the things that we change within this section are going to be changed throughout the entire all the other projects as well. That is why by default, it is set to hidden to make sure that none of the content that is set by oral engine five itself is changed in any way and messed up throughout all the projects. But we can avoid this by simply knowing that we can't change anything within the engine folder itself, and it's better to whenever we make use of this content folder is by simply making a copy of whatever is inside and then dragging it out onto your content drawer just to make sure that all that we use is only set for the project itself. This way, we can make as many changes that we want without ruining the entire unreal engine five content files. Okay. That is going to be it for Unreal Engine, the UI Introduction guide. Hope you got a lot out of it, and we'll be quite useful to you going forward in the future for your unreal engine projects. And now let's get back to the course. Welcome back, veron. I hope that the video was informative and was helpful in regards to introducing you to the program. So we got ourselves over the UI elements of Unreal engine. And now in the next lesson, we're going to continue on introducing ourselves with the program and actually go over the Vewport navigation, which is necessary in order to have a nice control over the entire software. So thank you so much for watching, and I will be seeing you 118. UE5 Introduction to Viewport Controls: Welcome back, Everyone to Blender and Real Engine become a Dungeon Prop Artis course. In the last lesson, we left it off by getting ourselves introduced to the UI of the real engine software. And in this lesson, we're going to continue on with the introductions and get ourselves more familiarized with the viewpoard that's right in the middle of the screen. So without further ado, let's go ahead and get right into it. Hello and welcome everyone to Unreal Engine five basic guide for the camera motion, and we're going to start off by introducing you to the camera type of motions with an unreal engine five, in order to help you and follow along the lessons easier. So to start off, within the middle section of the software, we have a perspective camera view by default. And using this, we can move our camera around. The main thing that you need to remember for when you're moving your camera around is that by holding Alt and e one of the mouse buttons, you'd be able to make a certain motion. So for example, by holding lt and left mouse button, you'd be able to rotate your camera around, like so. By holding Alt and middle mouse button, you're able to pan your camera around just like that. Finally, by holding old and right mouse button, if you were to scroll up and down using this motion, you'd be able to zoom in and out of your view. Alternatively, you can simply just scroll your mouse wheel and zoom in or out of the project like that. Now, if we want to zoom in towards a selected object, what we can do is if I were to select this box over here, for example, I can click the letter F, and it would zoom in right onto the object. Now we can use this to rotate our camera around and simply see a level with the object selected as a center. If we were to select a different one and click F, we zoom in onto our asset. And if the asset is larger, like this ground plane over here, for example, if we were to click F, it would zoom out and make sure that the camera view has the entire selection within our view. So this is pretty good for whenever we want to zoom in onto our selection. However, you do need to be careful, since if, for example, were to select a sky and click F, it would zoom out all the way, and we don't really want this to happen. So make sure that before clicking F though, your selection is not something like a sky sphere. Now, if you want to have more control over camera, and let's say you want it to be similar to a first person game, what you can do is by holding click, you'd be able to enter a sort of a camera movement mode within your editor. Right now, if I were to hold Right click, I can simply rotate my camera as if this was a first person of a game. Now, what's nice about it is if we were to hold Right click and use WASD, we'd be able to move around our Atk so. So by holding R click and W, we'd be able to go forwards by holding right click. We can go backwards, A to go left, and d to go right. Also, if you want to go up directly or down directly, you can use the combination of Q and. So by holding right mouse button and holding Q, I can directly discend out level. Similarly, by holding right click and holding. We can go up the level just like that. Now, if the camera is a little bit too fast or too slow, we can make use of this icon in the upper right corner, which says the camera speed. If we were to click on it, we can use the slider over here to set the speed of our camera. So for example, if I were to set it to one, I'd have a really slow motion and we'd be able to have a really fine control over where our camera with an editor mode is. Were to set it up to eight, we'd be able to go really fast up and down, just like that. But by default, it should be set to something like four. There is a value underneath it, which is set to one. If we were to set it to two, for example, this would multiply our four speed to be all the way to eight. So right now, if we were to go up and down, you'd notice that it is way faster. So this is quite useful for when we're working with different scales. I personally only recommend you to use this value for when you're going up and down in scales. So for example, if you're working with planetary skin of scaling, we'd want this to be increased to, for example, like 14, and then this way we'd be able to go all the way out real fast out of a level. But by default keeping it at one and simply scaling this up and down will do just fine. Now, within the perspective view, we also have a couple of over perception modes, and those would be seen on the upper left corner off the window for our perspective camera. Right now, we have set it two perspective. We can change those to be top bottom left and right. What these would do is basically it will help you get different types of used for our level. Right now, because I'm set to bottom, if I were to set it to left, and if you don't see anything, we can always make use of the letter F and go back onto the level just like that. So this is quite useful for whenever we're creating environments and assets, and we just want to make sure they look good and proportional to rest of our level and from all sides of angles. Again, by default, this will be a perspective. If you do want to change it to be into multiple cameras, though and you want to see multiple of them at once, we can click on the upper right within our view mode. Button over here, you click Maximize or restore viewpoint. This way we get three different viewports, all from which are different types of perspectives. Now, other than the perspective, all the other ones will by default be set to wire frame. If you don't want this to happen, we can always set them to be lit, especially when designing a level, this sort of a view might be quite handy. To go back onto one view, what we have to do is locate our perspective camera and click on this button over here. Within this perspective view, we can also change the way our camera perceives the entire level. And right now it is said to be default of lit, which means that all the shading would be seen with proper shadows and whatnot. So in order to change that, we'd have to click on it, and if we were to, for example, select on lit, which would show you all the level without any types of shadows. We can go ahead and do that. We get to the sort of result. It's also something like a wire frame, which you see in othero cameras. If we were to click on it, we'd see the types of geometry that we'd have. So it's quite nice to know, especially if you by accident sometimes lick on one of them and you don't know how to get out of, can always go on this button over here and select lit. After which, we also have show icon over here. This one will get you different types of visualizations for your respective camera. But what you need to know though is if you have something that's a little bit off, like, for example, I have my grid right now, which is barely visible, but is often quite useful for when we're creating our level. But if this is not visible, for example, if I have this turned off with this part over here, and I want it on, but I don't know which one exactly it is. We can always go ahead and click Use defaults, and this will bring back all the selected defaults that is usually set up by the default template. And that's pretty much all there is to the camera controls. I hope you enjoy the video. And now let's get back to the course. Welcome back, Everyone. I hope that the video for a viewport introduction was informative, and you're now able to get yourselves more familiarized with the overall controls within your screen and basically move your camera within this view with ease. So yeah, that's going to be it from this lesson. I next lesson, we're going to start on working with the entire setup within our real engine and get all of those assets ready for a scene. Thank you so much for watching, and we'll be seeing you soon. 119. Importing 3D Prop Collection: Welcome back in front to Blender and Unreal Engine become a Dungeon prop artist course. In the last lesson, we got ourselves introduced more with the viewport of the Unreal Engine five. And now we're going to continue on working in regards to setting everything up for our Dungeon props. So before doing that, just in case, I'm going to go to Windows, and I'm going to load a default editor layout. This will just make sure that everything is set up nicely, and now I'm going to clear control and space and do this to layout just so we can have this nicely placed within our condo browser, since we're going to be working with it shortly. The afterwards, if you're noticing that my view is lit a little bit differently than your word person template. That is because it is set currently as a scalability low, which we can change this through top left corner over here. If you're not seeing this, by the way, you can also enable it through the settings in the top right hand corner like so. So if we were to click on this, you get yourselves a scalability settings for the engine over here. So now if we were to hover over our mouse, we're going to get ourselves this type of a window. And if we were to click on one of them, we're going to get ourselves entire options change for the quality presets. And then afterwards, once you start changing that up, you should get yourselves this type of a button on the top left hand corner. So if you' having some performance issues, I recommend you scaling this down, and that'll help you to work with your assets more with ease. Right now, I'm just going to set this too high. By default is going to be set too high. You don't want to go anything above that honestly. Cinematic is usually for when you want to render out your shots and whatnot and get some nicer screenshots, for example. So yeah, by default, you're going to be using high, and you don't want to go anywhere above that, basically. So let's go ahead and keep it as is. Now, the next step, what I'd like to do is actually, I feel like the walls are a little bit too clustered for our scene if we were to hit play, we're going to get this type of a scene. And honestly, it looks quite nice, but it just feels a little bit too much clustered up. So in order for us to delete that, we're going to just simply select on the folder. And actually, I believe we need to actually open this up, and while holding Shift, we're going to just drag it down and select everything within it. So now we can see that it is highlighted. And if we were to click Delete, we're going to delete all of those assets. I think by if we were to just simply go ahead and select this within a folder, nothing is going to be selected basically. So what I'd like to do is actually, I like to open these folders up, like so so for block one, block two, block free and cylinder. We're going to basically have all of these selected by holding shift while all of them are opened up and you can see them highlighted, so now I can hit delete, and it's going to delete everything within the scene. So basically what we want is we just want to make sure that only this SM Q folder base is left, since we're going to be placing a lot of our props within this area, and we just want to make sure that we have a lot of space to work with. So I'm also going to delete the rest of the assets like so. I'm just going to delete the walls. And I believe we also have a couple of cubes. Yep. We're going to hold shift. We're going to select in between. We're going to hit delete. And yeah, we're pretty much left with this, and of course, we have a text in the middle. So I'm just going to select it manually by left clicking on it and hitting delete as well. So all we're left is basically this simple type of a platform, which is actually more than enough of space in order for us to work with all of those assets. So now that we have enough time, we're going to be setting ourselves up new folders for the PX files. So we're going to actually within a content browser, and by the way, if you're not seeing it, just make sure to click Control and space, which will give you this type of an option and then dock it to your layout like so, and I'll give you a nice type of a content browser for us to work with. So within a content browser, we're just going to make sure that we are within a content folder over here. Once we have it selected, we're going to make sure that we just create ourselves a new folder for us to place our assets. So right now, we have a character level prototyping Fird person because this is a template for third person character. And yeah, we're just going to right click on an empty space. We're going to find ourselves a new folder, and we're going to just rename it, so we're going to call this assets, like so. What I'd like to do is in order to keep myself organized, I just place everything in asset related within assets, and then within it, I also like to have myself a material folder right within the same type of a content for assets. So we're going to right click as well within the assets folder, and we're going to get ourselves a new folder for that. And we're going to call this one materials, like so. So now that we have ourselves asset folder and materials folder, we can finally start importing the materials and the assets required within the scene. So for us to do that, we can either A, find ourselves a folder for where we had it located within our export locations. So right now, I have the dungeon props PX located over here, and we can just simply drag and drop this into the acid folder into the empty space like so make sure to not hover over the material folder, since we're going to be only placing materials within it. Let's go ahead and release it. And now, what we're going to get is we're going to get MPX import options. Alternatively, What some people like to do is just simply import it from within the Cdent brows itself. So if you were to right click, you can go ahead and select Import two game assets. So this one over here, this option will basically allow you to navigate from D real engine itself and just find yourselves the FBX file. So I'm just going to get myself the dungeon props and just going to locate myself to FBX file like so. And it should allow us to select it if you're not seeing it. Just make sure to have this set us all files, and this will allow you to basically find ourselves everything that's allowed to be imported within on real engine. So afterwards, we're just going to hit open, and it's going to give us basically the same type of FBX window. And within it, we have a bunch of options to go through, and a lot of them are actually hidden. So we're just going to go through all of them. In bit by bit, basically. And for SATs, we have ourselves skeletal mesh. If the asset if certain props have animation is going to try to by default, set this up to be ticked on, which will give you a complete different options within this area. So make sure to have this ticked off for these props. And if you do have animation on certain one of them is, if you want it to be creative, I recommend you importing the animated props separately, since it'll give you the best type of results. Then afterwards, we have an option for build Nite, which is actually really easy to enable and disable for your assets anyways. But we can go ahead and have this enabled just because it helps us so much in regards to optimizing all of our assets since it basically gives us an automatic hello within the scene, and that just allows us to use as many props as we want within our map, and it is just basically really helpful in regards to that. Unless you're working on something super low poly, I recommend you getting this tick toon. Then there is an option to create generate missing collisions, which, honestly, is not going to work really well on all of our props, simply because it's only creating very simplistic and basic type of a collision, and we're going to go over them later on in our lessons in regards to setting up the collision. So basically, our character wouldn't be walking past those items. But having a default on helps us to kind of get most of the job done in in regards for most of the simplistic ones of the assets. So we're going to keep this on. Now, as for the other options, there are certain ones that re engine just likes to hide them away, which are really useful. So this is going to be one of the cases. We're going to click on Advanced, which will hide a bunch of options that are really nice. But we just need to make sure that a couple of them are right, and one of them is going to be generate light Map UVs. It's just going to help us in regards to the lighting within our static meshes and the way the shadows behave. Then afterwards, we're going to get ourselves combined meshes as well. This is the most important one since we have an entire pack set within a single FBX file, which we're going to make use out of by just making sure that none of them are combined, and each one of the objects are basically going to be split apart. This is really helpful. It basically helps us to reduce draw calls in regards to our engine, and it just basically helps us to optimize our entire prop pack. So yeah, that's really useful for whenever you want to have multiple assets within your game. Downside of this though might be that if you do want to change your props or your assets and you want to adjust them, it might be a little bit harder to re import them afterwards. All of the data is basically placed within a single FBX file. Yeah, we're going to leave it as ticked off. Then we have a couple of options. The other one that we might want to consider. Checking is going to be normal import method. We want to make sure that it is set as import normals. And that'll just make sure that all of our edges that is moving off are going to be imported properly. So yeah, afterwards, we're just going to scroll down. We go to sell transform, which if we want to scale up our object from centimeters to meters, we can also make use out of. But again, since our props are placed and set up properly, they're going to be left as is, basically. So yeah, we're going to move on. We have a couple of other options which we can make use out of if, for example, we're using a different type of software, and it's using different type of axis as the top. So, for example, is an axis by default and blender, real engine that goes in height. But in other programs, that might be a y value. So this might be needed to tick off. So yeah, there's a bunch of other options, basically, if we're using a different program, different software to make use out of. But because we're using blender, they're not really as important as all of the settings are pretty much ready to go to be imported. And we are also going to be creating new materials basically for each one of our assets for the seamless textures, and then we're going to be basically replacing those materials with our custom created material instances later on. So we need to make sure that we have certain materials basically linked properly to all of our assets. So we've got to make sure that it is set as create new materials. So after we're done, we can pretty much click import, and it's going to start importing all of our PX measures. It's going to take a while though, because, of course, we have collisions turned on as well that needs to be generated as well as the live PP UVs. And of course, we do have a lot of assets within this single file is going to be taking a bit of time to get everything processed. But once we're done with it all, we're going to get this sort of a window, and it's going to give us certain information of what went wrong and what didn't. But it's basically if we're not getting any red marks within a message log that's going to be fine, there are yellow marks next to the name that can pop up as well, which basically means that you need to take caution and to check if nothing went wrong. So, for example, if vertices are too close or something, There are overlapping pass. We might run into some issues, and the unreal engine would be struggling to import them in. Doesn't mean it doesn't get imported. It's just would be saying that we need to take caution. Certain bits might give us some unexpected results, basically, but we can pretty much hit clear on this one and close this window down. And we're going to get ourselves this sort of a view full of textures. And materials alike, and we're going to be, of course, replacing them by setting them up manually. But for now, this is what we're going to get. But the most important thing is going to be static meshes. So that's what we're going to be setting up within our Unreal engine. So yeah, we're going to start doing that in the next lesson. So thank you so much for watching, and I'll see you in the next lesson. 120. Organising the props within our world: Welcome back and front to Blender and real engine, become a dungeon prop artist. Now, in the last lesson, we left it off by getting everything imported within our unreal engine. By that, I mean all of the assets, and we still need to, of course, import all of our materials in, but we're going to do that in a bid. We still have all of our assets loading up. If we have a look at the bottom right hand corner, we see preparing shaders and it's loading up everything for our assets. So we've got to take some time to get everything imported, and it's just going to take some time. But yeah, once we're done, we're going to get something like this. And we also have a lot of textures that it tries to import since they were linked within Blender itself. But that's not going to quite work for us because they need to be redone, set up for re engine itself. And for example, within Blender, you would be using open GL normal maps, and we're going to be using direct x ones. So we're going to be deleting all those textures in the bit, we need to set ourselves up with new materials first. But for now, I think we can just go ahead and select all of the static meshes and just import it into our level. The easiest way would probably be to just search for all the static meshes within the asset folder. And for us to do that, we're going to make use of the acid filter. So if we were to click on this button over here, like so, we're going to get ourselves all of the classifications and categorizations that the unreal engine supports. Of course, we want to make sure that we're looking for static meshes. Since that is what the meshes are. We're going to click on this one over here, and then we're going to basically get ourselves this type of a tab on the top section of our content browser, which will show us everything in regards to the static meshes. So we can actually just select one. We can click Control and A. And since we have the filter on, it's just going to select everything in regards to the static meshes. So once we do that, we can go ahead and drag this out into our world, and we can see that just like we left it off within blender, everything is going to be placed nicely within our world. Just clustered up and what not. So we're going to, of course, be fixing that. For now, though, I think we can just get them out of the way and just set them up nicely to be placed to be visualized properly and see how they look like separately. But as you can see, because we were setting up the world position, they're going to have their origin points to where they've been left off, basically. So I'm just dragging everything out, trying to keep everything in a same type of a location. And I'm just going to drag these shelves out as well. Maybe I'll drag them to the back actually I'm just going to select both of them, holding shift, and then I'm just going to get them out to the side like so. And we have, of course, some torture devices like so. This one is going to be going slightly inside of the floor. I'm just going to drag it up, since we're going to be basically placing it to the side of a wall. So of course, that's going to be quite all right. Then we also have this. We also have a table. I'm actually going to place the table at the front, and we have a couple of chairs, of course, like so. So we're just making sure that everything is placed nicely so we'll be able to visualize what we have within or scene. And that's going to be quite helpful for us, whatever we're going to be setting up all of the texture maps. So we can nicely see if they're being applied properly, and that is the reason for doing so. And it takes some time, of course, to set it all up. But once we're done, it's going to look quite nice. We're getting this sort of a result within our boxes. And S mesh is being too close to the create the one for the decals. But we're going to fix that in a bit. I think by just changing up the transparency for them is going to help us in regards to making sure that they're not glitching out like that. I'm actually just going to lower down the camera speed since it's a little bit too fast. We're just going to go up on the upper right corner, lower it down to something like free maybe. I think free is going to be quite all right. And then we're just going to continue working in regards to all of our props. The treasure can be right in the middle actually. Then we have ourselves a bucket. Bucket can go to the front. It's a smaller asset, and we have ourselves a small chest. Small chest can be next to the treasure. We have a goblet, which can also go next to the treasure, a books stack, like so, A couple of scrolls, of course. Just like that. And we also have a candle. Candle can be more to front since it is a light source that we're going to make us out of. So I'd prefer to have the candle, as well as the torches in one area. Then we also have ourselves a chair, which we're going to be placing it next to the table, like so. And we also have a couple of treasures, a couple of treasure points. Just like that. We're just dragging them out and kind of collecting everything what we have, and Seeing how each one of them look. And actually, I think I'm going to place scrolls next to the bookshelves, since we're going to be populating them with these type of assets. Or actually, I think I'll keep them next to the treasure. Since they're kind of small props, it might be easier to see them. So. Then we have an opal, which is, of course, a treasure as well. We also have a torch, which we're going to be placing next to the light sources over here. And this one, I didn't actually change up the origin point of it in comparison to the rest light sources in comparison to the rest of the objects. But that's quite all right. We can fix that in the end anyways. So we can leave it as as far now and we can come back to it later. Or we might just make use of it and attach it to the sideways of the wall, and I think it would work just as well. But we're going to we're going to make sure we fix that in a future. So that's another reason why it's nice to just move every asset individually, since we can take our time and check how each one of them looks like. We have a couple of banners, of course. We're going to actually grab both of these banners at once, holding shift, and we're going to just put it on the side like so. Just like that. Then we have a couple of smaller assets, a couple of extra books. Going to place them next to the rest of the books. Like so. Just like that. And we have a jug. We have a couple of ales. Like so. Then I grabbed another book. In case, you're wondering if you are not seeing what you're grabbing since they're all clustered up like so. On the top right hand corner within an outliner. When they are selected, we get ourselves with a name highlighted, so we can see that this is a book, and I'm just going to place it on the side next to the book. Going to select another one. Large candle candle is going to be placed next to the light sources, and we have ourselves a scroll. I'd like to ideally place this sideways actually. That might look good. Or maybe I'll just keep it as this for now. Click control that, and we're going to work on compositing everything work on composition and everything in the future. We need to make sure we set up all of our props properly first. So I'm just going to select another scroll, get it to the side. We get ourselves a helmet. The helmet that's, of course, going to go next to the weapon rack also have a couple of treasure left over here, and actually those book chunks. I'm going to place them over here. The plate can be here, and then we have some bits underneath. I'm actually just going to go underneath the level underneath the scene and see what we are missing. And we have this bed over here. So I'm just going to place it to the side like so. I think it's going to be quite all right. So all we're left is basically all the small props. So we just need to make sure we have them placed properly within our scene. So we're just checking them how they look like in regards to the mesh itself. We're not too worried about the material for the moment is we are going to be fixing that in a bit. Some of them have properly applied. Some of them didn't quite get them over imported quite as well, but it's okay we are going to be fixing that in the next lesson for now, though, we're just going to get everything placed properly within the same type of area. And this one is the jewel. This one is the jewel. This one is the jewel as well. Like so. We have a couple of candles left, and I think that's going to be it, actually. So bowl is going to be going next to these smaller props next to the jugs and ales, like so. Since that is part of the kitchenware, we're going to select these candles and we're going to be placing them at the front next to the rest of the light sources. So by just categorizing it like that by having the light sources be in one area, we're going to be able to basically work on all of them at once and set up the lighting and their particles within the same area. And as for the jugs and whatnot, we can see how they're going to look like in regards to smaller props. So yeah, that's going to be it from this lesson. Thank you so much for watching. And then in the next lesson, we're going to actually start and focus on getting all those textures set up properly. Thank you so much for watching and I'll see in the next lesson. 121. Importing and Setting up Textures: Welcome back, everyone to Blender and the real engine become a Dungeon prop artist course. In the last lesson, we left it off by setting all of our assets within the scene just so we could preview it. And now we're going to continue working on setting them up and actually apply some textures on top of them. So in order for us to do that, I'm actually just going to click off in the content browser just to make sure I deselect everything because since we had everything imported, everything was selected so we could drag everything in. So by just clicking in an area that's between objects, we're able to just deselect them like so. And also, we can take off the static mesh from the filter tab. So by simply clicking this off, we're able to now see everything that's within our library within our folder, without any filters applied. But if you have a look at it, we still have this applied onto our filter tab, which is actually really useful for us since we can just always go back and just enable this and see all of our objects is. So that's going to be quite useful for us in the future for when we want to apply our objects within the world. But for now though, let's go ahead and get all of four textures and materials set up first. And so the way we're going to do it is actually, we're just going to go into the materials folder like so. We're going to keep all of our textures here and I'm going to locate the textures folder from the resources stamp, and then we're just going to drag this and drop it into our folder like so. Then, of course, it'll take us a while to get all of those textures into the unreal engine. So let's go ahead and wait it out a little bit like so. And it's almost done. We're also importing everything basically, including the textures for blender, the open GL normal maps. And so the first thing that we need to do is actually we need to make sure we remove them just so we wouldn't reassign different normal maps onto our assets. So the way we're going to do it once it's done saving out our project, let's just give it a second for it to do that. All right. And how do it done with that? We're going to basically within the search bar, we can, of course, with the text folder opened up. So let's go ahead and just go back onto our textures folder, we can see that there's a bunch of folders that we have right now. All of them are the textures that we have within our resource pack. And so basically with the Textures folder opened up, within the search bar, we're going to search for open GL. So if we were to search for it, we're going to see all the texture files that have open GL within their names. And that's going to basically be all the ones that are going to be required for blender. And so, since we are using unreal this time, we got to basically make sure we don't use them. So we're just going to click control on A, select every single one of them, and since we had it within a search par for open GL, it's just going to select every normal with open GL. Ag on it. So now what we can do is just simply delete it, click delete, and we basically are done in regards to making sure that none of those normals are going to be within our real engine. So now that we're done with that, we can just open up our textures, and we can see that we only have direct X. So that's going to be quite nice for us. Of course, now that we're done with that, we are going to go ahead and make use of them. And so for us to do that, we're going to go into our materials, pull the legs. So And within this area, we're going to be creating all the necessary materials to apply it onto our assets. So the way we're going to do it is we'll simply start off by creating ourselves a basic material that we'll be able to make use of in order to set up material instances. For us to do that, we're going to right click on an empty space, and we're going to select material like so. And then we can call this basic PPR or we can call it PBR Mt. I think that will be better. So, now in order to access, its parameters, we're going to double click on it, and we're going to get sell a material graph like so. By default, the only thing that you're going to have is the material node, which we're basically going to make use of in order to assign all the texture maps. So for us to do that, I'm actually just going to maximize this entire window, and now we need to make use out of the content browser, and in the same way that we were using content browser within our windows within our unreal engine, we're going to click control and space, and we're going to get sell us a content browser like so. And from it, we're going to start off by just getting the first materials out which we'll be able to make use of and set them up as parameters. So for us to do that, we're going to go into the textures folder. And we're going to select what are the basic materials. I'm just actually just going to scroll down until I find we can make use of the dungeon fabric flag since I know this is a seamless texture. We can go ahead and open it up. And just like the rest of the materials, we're going to have five different texture maps. So we're going to basically click on the final one, hold shift. Click on the first one. We're going to select all of them, and then we're going to hold our left mouse button and drag it into the material graph like so. And then we're going to get all of them within it within the material graph, which, by the way, if we want to have control over this material graph, it's clicking and hold right mouse button. We're able to move our entire material graph, like so, and we can pan around it like so. Scrolling up and down, we can zoom in and out. And of course, left mouse button will do all of the selection and whatnot. So we're going to basically select on one of the materials, texture samples. We're going to just drag it to the side like so, and we're just going to separate all of them just like that. And by default, we should get something like this. And actually, we're going to set it up a little bit nicer, so we're going to get the base color to be at the top. Since this is going to be attached directly into our material. We're now going to make use out of those nodes on the side, coming out of the texture sample, and we're going to use RGB in order to drag it with our left mouse button and drop it into the base color for the material node. And this way, if you have a look at the top left hand corner, we're going to see a material being applied. Which, by the way, if we want to preview this material, we can always just use our right mouse button within this field. The controls for this viewport top left hand corner is going to be left most button, holding left mouse button is going to be rotating our entire view. A right mouse button, by holding right mouse button, we're able to zoom in and out, and holding middle mouse button, we're able to pan our view around. So just like that. This way, we're able to see and visualize how our material is going to look like. We can also change the material on which object is being applied onto. On the bottom right hand corner of that viewport, we have a couple of options. One of which would be a cylinder sphere and plane. All of them are pretty nice for whenever you want to apply the texture, but it's not really as important at this moment. We're just going to be setting all of the textures up first. So let's go ahead and do that. Once we're done with setting up our first base color. We're now going to move on to setting the ones as well. So by clicking on the texture, we can see the names of the textures on the bottom left hand corner within a detailed stab. And if I were to expand this, we can see it a little bit better. And even if we don't see it completely, if we have a small screen and whatnot, or if we have this minimize a little bit, we can hover over and we can see the name of that texture. That's quite useful because we now know that this is going to be amb declusion. I'm just going to lower down get it closer to the amber occlusion, and I'm just going to attach it. And then I'm going to make use out of the upper one, which if I were to hover over, it's going to be roughness. So let's go ahead and attach the RGB value for a roughness, like so. Then afterwards, we got ourselves a normal direct x, which we're going to attach to a normal. And just to clean it up a little bit. I'm also going to drag this up a little bit higher, like so. This way, we'll have it a little bit easier to read in regards to this material graph. Then finally, we have ourselves a metallic value. So we're just going to attach this to a metallic, and I'm just going to drag going to drag this all the way up. And by the way, if you attach it to the wrong type of a channel by accident, let's say if we were to attach this to a tangent or something of the sort. In order to take this off, we need to hold control, and we can just drag it out, and then by releasing it, we get the search bar if we click it again out of the graph on the graph, we're going to basically make a deselection. So that's one way of doing it in order to kind of change up the direction, change up how the nodes are being connected. So now that we're done setting up those nodes like so, we're going to need to be setting up ourselves a material instance, and we're going to be making use of of this material in order to link the rest of the textures, the rest of the parameters for the textures to the texture maps. So yeah, that's going to be in the next lesson though. So thank you so much for watching, and I'll see in the next one. 122. Naming Material Instances: Welcome back to everyone to Blender and on real engine, become a dungeon prop artist course. In the last lesson, we left it off by setting ourselves a very basic material to be used for our VR textures. In this lesson, we're going to continue on setting it up and making sure that we have it set as reusable type of material instance. Let's go ahead and do that. We're going to start off by getting ourselves the texture maps to be used as parameters. And in order for us to do that, we're going to right click on each one of the texture samples. Like so, and we're going to select convert to parameter. What this will do is basically it'll change the texture sample to a parameter two D, and we of course, need to now rename it so we could see what type of a name it would have. I recommend you renaming it to the type of a texture sample that it is. And right now, this one is going to be base Color, so I'm just going to rename this as base color. In this way, it'll basically be easier to navigate through the parameters and see what type of a material texture we're going to be using. I'm just going to call it the same one, base color. So, and now we're going to select b one. Right click. We're going to convert this to parameter. I'm going to scroll down within a detailed Sab without this being unclicked. And I'm going to kind of hover over this parameter this texture and see that it is called metallic. So I'm going to call this metallic as well. So, lick Enter and that's the way it is. So in order for us to rename it in case we make a mistake, we can always make sure we have it selected. We can click F two, and we can go ahead and then rename it again, just like that. So once we're done with that, I'm just going to select the A one, going to right click. Convert this to parameter. I'm pretty sure this is a roughness. Yes, it is. So I'm going to call this roughness so. Okay. And then move it to v one. This is going to be a normal texture map. Right click. Convert this to a parameter, call this normal. So. And then finally, we're going to have ourselves an ambient occlusion. So this one is completely white since it would be looking a little bit of for this type of fabric material. We're just going to rename this tough regardless because we need to make sure we use them for certain materials. So let's go ahead and call this ambient occlusion, L so I'm just going to zoom in a little bit and see how it looks like. So yeah, all of them are just going to be set as parameters now. We can go ahead and click and control an S to save that out. Now once we're done with that, it's going to compile this type of a sha, we can close this down and we can see within our to browser, we have ourselves a material that's set as a red type of a bubble. We can right click on it, and we can create a material instance out of it. Now, with material instance, I'm just going to tap it off to keep the name this for now. With material instance, we're going to double click on it, and we can see that we have a couple of global texture parameter values on the right hand side. In order to change any type of values within material instance, by default, they're going to be ticked off. So in order for us to make sure that we can change them, we need to have all of these tick toon like so. So this is going to make it a little bit easier for us in the future, especially since we're going to basically duplicate this entire material instance and reassigning different textures. Now we have the tick, like so we can go ahead and change these type of textures. I'm also just going to minimize a make this window a little bit smaller so we can see our content browser within our entire unreal engine window that was docked over here. And we're going to make use of this in order to start setting up our materials. So the way I'd like us to do is firstly, I'd like us to check the amount of materials that we actually need to create as material instances. And so we're actually going to go into the assets folder over here and check how many materials in total we have. So the easiest way for us is going to be to make use of the asset filter. We're going to click on this, and we're going to search for a material node over here, filter by material. We're going to click on it. Then we're going to see all of the materials set up within our assets browser. So we can actually just select click control and A to select them all. Just going to make sure I tap on the contra browser first, click Control A, and now we can see the amount of assets that we have. So actually, we just have 42 materials, which is quite a decent amount actually for this amount of prop collection. We're going to make sure we set them as material instances for every single one of them. But first, we'll need to have 42 different materials. The way we're going to do it is actually some of them are not going to be just simple PBR materials. Some of them will need transparency, and other ones will need a massive type of a texture. But we're going to be fixing that as we go along. For now, though, we just need to make sure that we set up 42 different material instances. So let's go ahead and do that first. So we're going to take off the filter for a material. We're going to go back onto our material folder. We're going to just make a duplicate out of this 41 time since this is already one separate material instance. Let's go ahead and click control C, Control V, and let's go ahead and keep clicking on this until we have a whole bunch of different materials. I'm just going to check how much we have 18, 19, 20 duty to do. I'm going to click multiple times. You can see bottom right that assets are being copied and we can check how much we have now, 45, I need a couple of extra. Let's see how much we have now. And we have 44, so we have a couple too much too many. So we're going to select both of them. We're going to delete it, and we're going to get ourselves this amount of material instances. All of them are basically just duplicates out of one another, but now we're going to be able to make a really nice type of instances out of them. So I'm actually just going to close down this material instance for now this window over here. And I'm firstly going to start off by getting myself material instances and materials on one window. Even though they're in separate folders, what we can do is we can go onto the assets folder over here. We can now make sure that we have material selected, and of course, this is only material. We need to make sure that material instances are selected as well, which by the way, in order for us to do that, we're going to click add an acid filter, and we're going to hover over a material section over here since the basic acid one doesn't have it. We need to go a little bit more in depth for it. We're going to hover over materials, and we're going to search for material instances. Once we find this, we're going to click on it, and we're going to get ourselves a filter tab of material instances. And since we had material selected, we're going to have that as well selected. Now, what I'd like to do is just basically match the names of each one of them, like so. So for example, which one would be easier to start with. I think we'll just start from the top. We have blood two. We can go ahead and find ourselves material instance. We can firstly select the blood two, we can click F two, and this will give us the name selection, we can click Control and C to make a copy out of this name. And now we can go into the PVR Mt. For this one, we can click click Control V to make a paste. Of the name, and now we're going to just basically add instance to the name. So we're going to have underscore inst, like so. And it'll give us this sort of a result. Now, of course, this is going to be the blood is going to be set as a decal, but that's going to be done later on. It still has the same type of textures as we had previously, and it's just going to help us out in the long run in regards to the naming material instances. So let's go ahead and get this task over with. What we're going to do is just continue on working with the same type of technique. We're going to select blood free. We're going to click F two. We're going to click Control C. And we're going to go into the upper material instance for this pasted one that we had. We're going to click Control V after clicking F two, underscore and call this int. And basically, what you notice is because the way the unreal engine is organizing files, it's always going to have it alphabetically. So ABCD type of deal is going to be blood at the top, and then something like, for example, wood, which is lower down alphabet is going to be at the bottom, which is quite useful because right now since we're setting up the names, they're going to give us the names in the same kind of area, like so. So that's actually going to be really helpful for us. In regards to navigating through all of our assets. Let's go ahead and continue working on this. Book covers, we can go ahead and select it by selecting it, clicking F two, clicking Control C, going down and then renaming this Control V, underscore inst like so. Now we have book covers. Now, book covers alternative will be I believe it's the same material is just with some alternations, but we can always make some alternations within our material instances later on. I'll show you how to do that. First of all, let's go ahead and just have the naming for material instances placed properly. So let's go ahead and get ourselves to book covers alternative. Let's go ahead and just paste it in the score inst so. And yeah, let's just continue working on this until we get all of those textures renamed properly. So I'm just going to go ahead and call this inst as well. And candle wax going to hit Control C, scroll down F two, control pasted c then the next one. So that's going to be a book pages. Just going to go ahead and copy this material instance, Control V, underscore inst. We already have that. It seems made a mistake. Luckily, because it doesn't allow us to have the same type of a name under the same folder. It's not going to allow us to get us a duplicate out of this material instance. So that's pretty nice. Wax, we already had it. Charcoal. Okay, let's go ahead and do charcoal. And we're going to click two Control V instance. Now we're going to control C on DCL crossed. We're going to go here. Instance, like so. Decal large Control C, we're going to go down, Control V, instance like So ECL stamp because it's going to be decal, we're going to be changing that up, but that's going to be in the pit. Let's go ahead and call this instance. And then we got what C. Control V instance. I think that is also going to be a decal. And this writing is DCL for sure. So I'm just going to select it Control C. Two, Control V. Underscore instance, like so, fabric, two, control C, So, yes. It is ATDs process. As I said previously, but it definitely is worth it. I don't think we need to do anything with the flame in regards to that because I'm not going to have any sort of a texture. So for now, I'm going to leave it as is and just set up this material separately since that doesn't have again, it doesn't have any type of a texture on it. So now moving on, we're going to have Jam Bluestone. Let's go ahead and select it Control C, after clicking F two. Get those instances renamed like so. Gemstone red. Let's go ahead and rename it as well. These ones for sure, we have to have sort of a transparency with a reflective value with some nice type of a glassy look. We're going to make sure we get that. We're going to get ourselves gemstone yellow. Let's go ahead and get ourselves gemstone yellow like so. As for the gold. We're also going to go ahead and just make a copy out of that. Sorry, let's go ahead and make a copy out of gold name. And we name this as Inc. Actually, I think I made a mistake by doing this. I changed up the name for a yellow material. Now we can go ahead and just simply double click on this and see what type of a material this is. This was actually I believe this is a simple gold. Because we can still see the color. We can somewhat tell which one it is by just simply clicking through materials on the bottom right hand corner, we can see the materials that are being assigned to those props. I think this is looking quite orange. If I were to click on a gem, that's going to be it. Yes. That's going to be a gemstone. Let's go ahead and just have it properly named. I'm just going to select one of those names like so for the gemstones, and I'm just going to have it old yellow. Like so. And of course, underscore instance. So yeah, that is one way of fixing this sort of a mistake. But of course, we're not quite done with setting up all of those materials and reassigning them to material instances. So let's go ahead and do that in the next lesson. So thank you so much for watching, and I'll see you soon. 123. Material Instances: Welcome back, everyon to Blender and on real Engine, become a Dungeon prop arts course. In the last lesson, we left it off by setting most of the material instances and renaming them properly in accordance to the materials that were assigned onto our props. And now we're going to continue on with this type of work, make sure that every single material instance has its own counterpart for the material. So let's go ahead and do that. For the gemstone yellow. I think Yeah, I made a mistake because this was a material. I'm just going to click F two going to remove the material instance. Since I made a mistake for that. By accident, I ended up renaming the material itself. Since we can see the tags on the bottom corners of their thumbnails. This one says material, and of course, we want to make sure that it is being kept as material. We don't reassign it by accident. So does it have a counterpart for the material instance? It does not. So let's go ahead and do that real quick. Have Johnstone white, and we need now Johnstone yellow, so let's go ahead and select it. Click F two, click Control C. Let's go ahead and rename this as material instance. I'm going to have it as is now as for the gold. We're going to of course, make a gold material instance since we are needed for that as well. Gold coins, of course, we'll need to make material instance out of that as well. Like, so, then we have ourselves a gold trim sheet. Gold trim sheet is basically going to be using same properties as a normal PBR material. So let's go ahead and just simply apply a material instance for it. Actually, I made a mistake, going to click Escape, which will do the task before I click Enter to rename it. I'm going to make sure I copy the gold trim sheet first. Going to make it a little bit bigger like so. And I'm going to rename one of the material instances with a gold trim sheet ElmetFeather. This one is going to be transparent. We're going to set it up as transparent. And I think we're going to set it up as two phase as well. We're going to get into that in the bito. Let's go ahead and just finish these off. We don't have a lot of them left, so I'm just going to get iron dark. Instance, like I made a mistake again. And by the looks of it, I can't actually click Control Z. Selecting on this, we can see that it has a texture and by hovering over the texture within a detailed stab you can see its name. Now, I'm actually having this as default material underscore roughness, which is going to be a little bit more troublesome for me. Actually, I just noticed that it's also set up a metallic, even though it is a roughness texture. Not sure why a blender imported texture would do that, but Anyways, I'll make sure to have every single one of them renamed properly. I'd be easier to find. So in case you rename the material by accident, just go ahead and open it up and check its materials and see the naming for them. And then once you're done with that, you'll be having an easier time reorganizing your materials. For now, though, I think, yeah, I think it's going to be on. So I think it just needs we have three of them. And we have a grainy and we have old, only one that we're missing actually in this case is going to be dark. I'm just going to go ahead and just rename this manually. I'm just going to click F two, call this iron dark. Like so. And now we can just go ahead and select it two Control C and go ahead on the material instance. Control V underscore, and we're going to call this instance. Also, let's not forget that we have a default material within our tab as well. That's not a material instance for this type. So let's go ahead and just make sure that the tag is set as material instance for whenever we renaming them and not material. And I'm just going to continue on with this. In grainy, we need that as well. I'm going to call this ins like so. And on old to select it, control Control V instance. Ever parchment is going to be this one over here. Let's go ahead and click on it, control made a mistake, and it already says that there is already kind of a name for it. So I'm just going to click Escape, and that's just going to cancel my renaming. And that's just going to help us out a little bit like so. And now we're going to select this one click Control C. C Control V on this one, underscore instance. There's a lot of textures to go through, but we're almost done. We have a couple of them at the end though, so let's go ahead and just continue working on them. And have them all set up nicely and basically ready to be reused and reassigned properly. Now we have these ones over here. PBR material instance that we already done with the level strap, we just need to reassign the ones underneath, so let's go ahead and get the wax Like instance. And it's going to be rope one and rope two, of course, different color variations. Like so. Scroll paper. We just need to make sure we have that selected F two, paste this in and then go scroll paper silver basic. We're also going to make that as well. Silver treasure. We're going to get ourselves that as well. Like so. And then we have straw, S is going to be a material instance, this is going to be a transparent one, which we're going to be replacing its original master material for it. Water is going to be a nice one as well. Instance. Then we got a weapon iron. Let's go ahead and get ourselves that as well. Like, Wood course. Let's kept this in as well. Wood stylized. We're almost done with it. So let's just finish these off, and we're going to be ready to go. Like so. Seems like I have a couple of them left over. So let me just go ahead and check if I missed any one of them. And it seems all of them are in order, but we might have missed couple because of something like a lame that we just decided to leave it as is. So I'm just wondering if We need that many. I'm just going to delete them for now and we can come back to them in a bit. So since they're not assigned properly to anything, we're going to delete a couple of them like so. And I think we need to leave one of them out or a flag, which I believe is set as fabric cloth. I think I missed that out. So let's go ahead and just rename this like so, going to copy this and get myself into here. And there you go. So that seems like it'll be okay. Now that we're done with it, we can finally go ahead and continue working with the materials within the folders themselves. So let's go ahead and just close off the filters that we had set up previously. Let's close them off like that. And we still have the materials assigned to the assets which of course needs fixing. So let's firstly take care of that. So I'm just going to lower down the content browser since we're done with that. That's going to be for now. I'm just going to lower down this content browns a little bit, and now we're going to be working a little bit more with the viewport so we could see what kind of materials we're replacing with material instances. So thank you so much for watching, and I'll see in the next one. 124. Assigning Wax and Flag Material Instances: Welcome back and on to blender and then real engine become a Dungeon prop artist course. In the last lesson, we left it off by setting and naming every single material instance that we had set up within our materials folder. So now we have all of them set up like this, but we don't have any type of texture for them yet. So let's go ahead and work on that first. And we'll start off by just going for the list and actually not entirely in the same order because we're going to be needing to change certain materials them. So instead of what we're going to do is just we're going to go and skip a couple of them, and we're going to start off by actually. I think we're going to start off with candle wax. Since that has a really nice and basic type of material for the texture of the candles. So I think the first thing that we want to do is reassign those type of textures for them. And the way we're going to do it is actually we're going to go back onto the act folder like so. We're going to enable material and material instances, and then we're going to have them one with each other. We're going to actually find ourselves the candle wax. So this is the material, and this is the material instance that we want to change. And I'm just going to make this condo browse a little bit bigger. Now what we need to do is we need to have both of them selected, so I'm going to select candle wax squares, to go ahead and hold control. Select candle wax instance. Then we're going to need to click right click and go into the Act actions, and we're going to select replace reference. So we're going to be able to basically reassign the material to material instance. So we're going to basically now get ourselves two names within a replace reference tab, and we're going to want to select whichever one we want to keep and have the one replaced. So if I have this selected, we're going to replace the one that's above it. And so basically, in short, because these material instances are within a folder. Usually, they're always going to have a longer type of a name. So we don't even have to worry about which one we select. It's going to be quite a simple process. All we've got to do is just make sure that the naming is going to be selected with a longer name. So I'm just going to make sure I have selected. And with this on, like so, we're going to click consolidate assets. So if we click on this, we're going to see that they're going to be replaced with this type of a material. Of course, this is not the type of material that we want because right now they're going to look like flags, and we don't want this to happen, so we're going to be switching that up. So in order for us to switch that up, we're going to open up the material instance. We're going to double click on it, and we're going to see this type of a window. So now we're going to actually make it a little bit smaller like so, and I'm actually just going to put it on the side so we could see the candles a little bit on the side as well. Now we're going to actually take off the filters that we had for material and material instance, go back to material folder, go into the textures folder, and we're going to find ourselves the candle bikes that we want. So we're going to go ahead and search for it by scrolling through these folders, and this is going to be dungeon wikes. Let's go ahead and select it and we have a bunch of different textures for us to use. If we look at it, we also have the same amount of global texture parameters that needs to be reassigned. And I'm also going to just put it a little bit more to the side and bring out the detail tables. So, so we could see the very edge of them like so. And as you can see, they're named in the exact same manner as these textures over there. In regards to the attack. So amet collusion, base colametolic normal and roughness are going to be in exactly the same order as these ones over here. And it's just because both of them are named alphabetically in a same anima manner. So that's actually going to help us out quite a lot. In regards to basically assigning them in the same kind of order. So all we've got to do is right now, the easiest way for us to assign them would be to select ambient occlusion like so, and with the ambient occlusion selected, we're going to basically click underneath the ambent occlusion this icon over here, which will reassign our texture based on our condubrowser selection. So if we click on this one now, We're going to just change up the ambit inclusion to this one over here. So all we've got to do is just basically go through the list and change each one of them individually. We're going to select this one now. We're going to reassign the base color. We're going to go to metallic, reassign the base color, reassign the metallic color information. We're going to go to normals and then reassign this one. And finally, the roughness value as well, I don't think we need a pasity for this one. Just in case though, I'm going to open it up to investigate it, and we have a couple of options in order to investigate it. We're going to go into this type of a tab a little bit more in depth in the future. But just by double clicking on it, we're going to open up this window, and I'm actually just going to make it larger so we could see. And on the top tab, we have a couple of options. We have RGB values. If I were to select all of them, I can see each one of the channels individually, and I can check if it has any type of information, and it also has an a letter standing for Alpha, which if it would have some opacity to it, this would be enabled. But because it doesn't, we know that this is basically just a simple opacity map. And I actually just ticked off just closed off the wax candle wax instance. So I'm actually What I'm going to do is, I'm just going to click on one of the candles, and I can see that elements which elements are being attached, and this one is going to be a candle instance, the one we worked on. So I'm going to just double click on it and go back into it, like so. And I'm going to make this window a little bit smaller. But basically don't close it off if you can, if you haven't yet. Just make sure you click on this small x over here, and that'll just close off one of the tabs, and we'll go back to the material instance, and basically going to finish this off by getting the roughness value into this area over here. And we're going to get a really nice glossy type of a roughness value. And I think this is going to be a little bit too rough in regards to that. We just need to make sure we check it out, how it looks like in regards to the wax within the candles themselves. I'm actually just going to click Control S, save it out and going to see how it looks like within our view. And in order to change up the lighting, by the way, now that we're done with the candle wax, I'm going to close this down, check the candle lighting and the way it's being bounced off because I think the roughness value is a little bit too much. So what we're going to do is we're going to change the light direction in our atmosphere, and we're going to check it from different angles. So for us to do that, we're going to click and hold control an L, which will open up this kind of a gizmo if you can see in the bottom right hand corner within the view board. With this, if we were to move our mouse left and right, we can basically change the angle of our sun. Holding control and L, we can do so like that. Then the next thing that we can also do is by going up and down, we can change the direction of our sun. I can actually see the sun over here. If we were to hold control in L, I can move the angle on how high the sun is, basically, But it's very hideous process at first, but once you get a hang out of it, once you get used to the way to control the sun, it's actually really nice in order to check how your textures basically look, how they're behaving within a real engine itself. So by the looks of it, I'm just checking out a look by going right and left. And They might look quite right. I was worried that they are going to look a little bit too glossy, but actually, they are looking really nice in a real engine with these textures on. So we don't need to change them a single bit. We are going to look into how to adjust certain color values and certain roughness values in the future, though. But for now though, I think we can leave it as is, and we're going to continue working on our proper textures. And this time, we're going to go back to the t to the material folder, and we're going to continue working with that. So we finished off the candle wax. We got charcoal Charcoal needs a missive texture map. We're going to leave it off for now. We're going to just continue on with more basic type of a textures, and decals are also going to be different materials. We're going to leave them off as well. What is going to be different. Writing is going to be different fabric cloth red. That's the one that we can change actually. And I think these are going to be for the flag. So let's go ahead and change them right away, actually. I'm going to go into our acid fold the legs Make sure that material and material incidents are both selected. Then we're going to navigate onto, where was it fabric cloth. We're going to select both of them. We're going to right click, and we're going to go to asset actions, replace references. Then we're going to select a one with a larger text, make sure that that one is selected. We're going to consolidate assets, and we're going to basically replace this with a material instance, like so. That's looking quite nice. I don't think we need changing anything for the banners at the moment. I'm just checking how they look like. I'm going to hold control in L and move the light like so. To see the way the light is bouncing off. Quite like that. I think I'm going to leave it as is again. So yeah, I think we're going to leave it as is for now. In the next lesson, we're going to continue reassigning the materials and setting them up for our assets. So thank you so much for watching, and I'll see you in a bit. 125. Correcting Texture map Brightness values: Hello, welcome back veron to Blender and on real Engine, become a dungeon prop artist course. In the last lesson, we left it off by setting ourselves some of those nicer banners, the material the texture for them. And in this lesson, we're going to continue working on it and actually set up more of the materials just to get the right type of textures out of our assets. So let's go ahead and do that. So within the assets folder with the material and material instance, both of them are selected. We're going to continue working through the list. We're going to now make sure that we get so after the fabric cloth red. Okay We're going to work on fabric, which was, I believe, for the bed. So this pillow over here, we're going to go ahead and fix that. So I'm going to select both fabric and fabric instance. They're a bit off from one another because of the naming. Instead of trying to put the fabric cloth alphabetically in the same order. Doesn't seem to be quite working out. But anyways, let's go ahead and select fabric and fabric instance, act actions, replace references, and we're going to select the one with a longer name. So this one over here. We're going to have this result. We're going to now take off the material instances. We're going to go onto the materials and go to textures. We're going to find ourselves a fabric. I'm just going to go through each one of them, and it might be easier to just search for fabric like so within a search bar. Just going to click Enter, make sure that I get myself this type of a result. But looking at it, it seems like we're getting both the fabric and fabric red. So I think what we need to do is just make sure that there isn't fabric red either. So for us to do that, I'm actually just going to go out the front of a search and put the score. And that should give us a nicer type of Oh, it's going to be this one over here. Let's go ahead and select it. And we're going to get all of these textures. I'm going to select the bed. And I'm actually going to open up fabric instance through here. Like so. And now we're just going to again reassign all of these one by one. So going to select M occlusion, going to click on this button over here, going to go base color, click on this button over here, and just do each one of them one by one until we get all of these sectures done just like that. And right now, it feels like the below is a little bit too glossy for us. It looks a little bit too wet and damp, actually. So we're going to I believe we should pick that. So let's go ahead and do that. And the way we're going to do it is, we're just going to double click on the roughness channel, like so. We're going to open this up, and we're going to play around with the values. So the values that we're going to play around with is going to be located within a detailed stab. If we were to scroll it down, I'm actually going to bring this up a little bit just so we can see the pillow on the side and have this window over here. Just like that. And if we were to scroll down, we get a bunch of adjustment values within the tab over here. And the first one is going to be the brightness. Now, the way the roughness value works is the wider the color is, the more of a rough value it is. It's basically a zero to one type of a color information, zero representing black, completely black, just like a metallic texture over here, for example, where it has no metallic value at all, so it's going to be completely black. Whereas for roughness, if it's completely black is going to be super shiny. So for example, what the brightness does, by taking this value down and darken it up, it's actually going to make it much, much darker type of a value. So by doing this, we can see that it's actually turning our entire pillow into really wet type of a looking material. Of course, we don't want this. We want the opposite, so I'm actually going to set it up back to one. I'm actually going to increase the brightness to two and that's going to increase the roughness basically off the entire pillow, and we're going to get this result, which is actually going to be quite nice. We still get those darker type of patches, which is going to give us some bit of a glossiness, is going to make it look like it's a bit of a muddy type of a fabric. But overall, we're going to get a really rough end up type and dried up type of a pillow look. Maybe it's a little bit to much though. Maybe I'll just lower it to 1.5, see how this looks. I think that's too little. I'm actually going to increase it to 1.8, and this is the right type of a value, I believe this is going to look quite nice. Just in case, though we're going to hold control in L and just move our lighting. Just to see how it behaves between different type of lighting setups. I think it looks really nice actually for this a fabric. Let's go ahead and keep it as it is. But maybe at say, we can play around with the way the patches are for those darker bits over here. Because of the variations within the fabric, we can see that we're getting some of those type of Stains that are more visible with lighting reflection. So we're going to make actually use out of that and set up more of a intense variation out of it. So within adjustments, we actually have more even more settings if we were to scroll down. And one of them is going to be if I were to scroll down. To brightness curve. Actually, I believe, I believe it's brightness curve. I'm going to set this to five real quick just to see how it looks. There you go. It basically just gets you more of an intense type of evation between. So if we were to set this 0.1, for example, or 0.5, we can see the difference that we're getting out of this. And if we were to set this to one or two, we can see that it gives us more intense type of evation. Basically, the more we increase it, the sharper this type of a grange value out of the roughness is going to get. So we don't want it to overdo it. One was already somewhat nice looking 1.5, though, is going to give us a much nicer type of e variation in my opinion. If it's a little bit too much, though, t's go ahead and lower it to 1.3, and I think that's by rotating our camera around and seeing how it looks like from different angles, we can see that it looks really nice actually. So let's go ahead and keep that as is. And yeah, that's pretty much all it takes in order to just adjust some color roughness libations values within the texture itself. Just by going into the texture value and just changing it man like that, we're able to change our entire material. That is one way of changing it up and getting ourselves some nicer variations. We also have a couple of other choices. So let's go ahead and go into that a little bit. For example, right now, I feel like this type of a pillow is a little bit too bright for this setting. I think it's just too bright as a fabric overall. So we can change that a little bit. We can play around with the values. We can go into the base color, douli double click on it, just like we did with the pictures, and we can play around with those values as well. By just going down, we have something like brightness what we did previously, we can increase it and increase it and get ourselves slightly different results. So by just increasing it to a value of 0.9, something close to a value of that. We're going to get this sort of result. And by changing the curvature, we can see the type of a difference, we're going to get out of it out of this entire type of a pillow. So I'm thinking that we can probably get away with just slightly increasing the brightness curve and sharpening up this entire fabric, and I think that's going to look much, much better in regards to the unreal engine lighting. So it's already looking pretty nice. Let's go ahead and keep it. And after doing basic adjustments to this material, let's go ahead and move on to the next texture to set up our next texture. So let's go ahead and close this tab, and I think we have every single one of them set up properly. Let's go ahead and just close this down a fabric material instance, like so. And we're going to basically move on onto the upper texture. So we're going to go back onto the ***** folder. We're going into material, material instances, Ta we did previously. And we're going to search for the next one for us to do. So we did fabric instance flame, we're going to leave it as is. We're going to be setting that up independently. Then we go gemstone blue, which, again, we're going to be setting up some transparencies. So we're going to leave that as is for now. Moving on underneath the gemstones, we have gold. We can set up gold easily. So let's go ahead and do that actually. I'm actually just going to position my camera closer to the treasure that we have, and we're going to make use out of this. So let's go ahead and do that. We're going to select gold, and we should have a gold instance, which is a little bit further off this one over here. We're going to click, we're going to use asset actions, and we're going to replace the reference. Of course, we're going to select the larger one. It also says that object is not of the same class. This just means that it is not of the same material. It is a material instance instead. So once we're done with the selection, let's go ahead and consolidate assets. Let's go ahead and select that, and we're going to go into it, double clicking on it. We're going to go into our textures. We're going to take off the filters. Going to go material, textures, and we're going to find ourselves gold. What were to search for gold within this one over here. Again, we're just going to go for each and every single one of them in the same type of a order There you go. But this one, you can see because it's metalic because it's metal, it's going to give us a more of a white type of a channel to use for this texture map, which is quite nice. We don't have a capacity for this one. We're going to use roughness value. We're going to click Control and S to save this out, and we're going to see how the gold looks like. It's already looking pretty good actually. So that's quite nice. There you go. Of course, we're not quite done just yet. We need to set up some of the other materials. We need to set up a lot of materials to be honest for the rest of the props. So we're going to continue on with this in the next lesson. Thank you so much for watching, and I'll see you in a bit. 126. Setting up Normal Intensity Parameter: Hello, and welcome back, Evern to Blender and onReal Engine, become a dungeon prop artist course. In the last lesson, we left it off by setting some of less metal for the gold. And actually, by looking at it, it seems a little bit too reflective. So we're going to be adjusting that right away. Just like we did previously, we're going to open up the roughness value. We're going to scroll down into the adjustments, and actually, I'm just going to put this a little bit to the side so just so we could see it. And by simply increasing this, we should get more of a rough value sof by changing it to 1.5, we might get ourselves a really nice type of a look, and that already is looking much better in comparison to this. So yeah, I think we're going to keep it as 1.5 and the worst case. Once we're done with it, we can always go back and readjust all of these values. So it already is looking pretty nice as a goal. Let's go ahead and keep it as is. So now we're going to close this down, actually, and we're going to continue working on the rest of the assets. So we're going to go into the assets folder like so. We're going to scroll down and we're going to actually let's go ahead and make sure that material and material instances are set up. Now we're going to continue working on the rest of the assets. So we set up a gold instance, and now we're going to continue working with them. So now we have gold coins. We're going to go onto the asset actions. We're going to replace the references, and we're going to select the larger named one. So we're going to consolidate assets, and of course, that's going to give us some bizarre results or it should be at least. But I'm not sure why this is not using gold coins. So I'm just wondering, Why, that is the case. Just going to go through the material. Actually, I didn't seem like it worked out quite as well, so I'm just going to do it again. Going to select both of them going to right click, and I'm going to go to ast actions, replace references, and I'm going to select a larger one, like so. So they go now, we have all of them set as red. Of course, we need to change up the textures. We're going to go into the cold coins like so. We're going to go onto the upper folder. I'm going to go scroll all the way up. We're going to go onto the textures. And we're going to, of course, find ourselves the gold coin, which, if we were to look for this entire thing, if I were to find it, it's going to be gold coins, there you go. We're going to open this up, and of course, we're going to start changing them up. So one by one, we're going to go ahead and get them changed. Just like that, this one is an emissive one, we're not going to be using this one. We're going to change this to metallic, and we're going to change this to normal and roughness. So there is gold emissive just in case if we want to set up some globe, which we might be doing that in the future, though. But for now, we just need to fix up the normal intensity a little bit. So in order to fix up the intensity because Right now, by the fault, the material for the gold is not quite there. We need to increase it otherwise, it doesn't look quite as bumpy, of course. In order for us to do that, we can't just do it similarly to what we did to the roughness values by making it brighter. It's not going to look quite as well. And so we're also going to want to have a certain amount of control over it. So for us to do that, we're going to need to set up a different material that will allow us to have certain control over the normal values. So in order for us to do that, we're actually going to make use out of the same texture map and set it up properly. So the way we're going to do it, we're actually going to close this down, we're going to go onto the textures onto the material tab, so. And we're going to find ourselves the original material that we had previously. So PVR material, we're going to open this up, and we're basically going to make some adjustments to the PVR material, the original one. Which will allow us to make certain changes for the gold while still keeping the same material that we adjusted for the previous assets. In order for us to do that, we're going to actually just go all the way up, like so. We're going to just put this so aside, and we're going to set ourselves up with a certain amount of control for the normal value. In order for us to control, we can't just simply multiply the value. Instead of what we need to do is set ourselves up with a different type of a change. So actually, not only we're going to set up ourselves some normal values, we're also going to be setting up some additional parameters to help us control the material instances within our ***. So for us to do that. We're going to start off by getting ourselves some roughness color values information, the intensity for them. And we can do so by simply getting ourselves a float value. But by creating ourselves just a simple float value one help because we need to set ourselves a parameter so we'd be able to control it through material instances. So for us to do that, we're going to tap on a material graph, and then we're going to hold as, We're going to hold S and tap on the screen, and then it's going to give us a float parameter. So we can call this roughness intensity. And then what we also need to make sure is that the default parameter is not set as zero because even though we're not using this value by default, if we were to simply apply it as is, it's just going to make every single material that we created previously super glossy. So of course, we don't want this to happen. So what we need to do is actually we need to change this default parameter within our detail tab over here. We need to change this to one. So that's going to be basically multiplying this roughness value with a value default of one. And if we were to hold tab on the screen, we're going to get ourselves a multiplying node. So by simply connecting the roughness value, and the roughness intensity float value, we're going to get ourselves both of them multiplied, and now we can attach this directly into the roughness node, channel x. And it's not going to do anything at the moment because if we were to click on Trol and S, if we were to save it out, and it takes some time for the shaded to compile. So let's give it a second. Once it's done, we can just click on a gold, we can get into its material so I'm just going to open it up just like that. So now what we see within each one of the material instances is something called roughness intensity. By simply clicking on this and increasing it, we're going to lower the intensity of these gold coins, and by lowering it, we're going to make it look much more intense. So by simply having this control, we're able to change up within a material instance, the roughness parameter, just like we did within the texture itself. Now, you might be wondering why would we do that when we have control over the texture value itself? Well, for starters, if I were to close these down for now. If we go to candles, like so if we want to change one of the textures, let's say if we like certain larger texture of this larger candle, and we want to change one of the variations for the candles. What we can do is if we were to go into it, we can click on this fine button over here to find our candle wax material within a content browser. Now what we can do is we can make a duplicate out of this by selecting it, clicking Control D to make a duplicate out of it. We're going to get an instance one. And then if we were to simply click and hold and drag it into this candle or actually, let's go ahead and have it selected, and now we're going to drag this onto this same candle wax and replace it basically, changing one of the candle wax materials to another one. Now what we can do is we can go onto this material instance. We can enable this and by simply changing this roughness value. For example, if we were to lower this down, we can see that it gives us a different type of a result or at the very least, it might be a little bit hard to see, but we are changing the values if I were to actually lower this down by quite a bit. Make it super glossy, if I were to change the location of the sun, it might be a little bit more obvious, but actually it's a little bit hard to see. I'm wondering if I were to increase this Yeah, there you go, you can see the type of a glossinus result that we're getting out of this candle. So one of the candles is going to be different than others in regards to the material. And then we can basically have variations of different materials with certain different tweaks, and it'll just give us a complete different look in regards to the candle. So that's going to be quite nice. I'm actually just going to disable this for now, and I'll give you a different type of example in a bit. But for now, though, we're going to actually create one more thing out of this material. We're going to go back into the material, where is it? I'm going to go back onto the assets like so, going to enable the material, and just going to find ourselves, the original, which was I'm just going to go into the materials fold. This might be a little bit easier, go PBR material. Let's go ahead and open this up. And finally, one more adjustment that I'd like us to do within this is going to be setting up the normal intensity. So for us to do that, we're going to right click. We're going to search for linear interpolate. We're going to search for this one over here. Alternatively, we can also click and hold L actually and just get ourselves this type of a node. So by making use out of this, we're going to change up the intensity for normal because it's not just a simple version of a color intensity where the brightness would increase the intensity for the normal. What we need to do is we need to get certain amount of changes for them first. So what we're going to do is we're actually going to make use of the slur value and attach to a value of B. Now, as for the value of A, we're going to basically create ourselves a really quick and simple value or a default type of a normal map. So for us to do that by default, if we have a look at it, it's actually quite blue because blue in a value of one would give us a neutral type of a normal map. So for us to do that, we're going to create a cells a vector free, which we can do so by holding free and tapping on the screen. So this will give us a vector free, which if we were to select it and go into the details, we'll see we have a constant. Now, constant will allow us to get a color picker, and we actually can change up the colors. If I were to increase the value a little bit, we can see the type of colors that we can change, and we're going to be able to change it to a new color. But we're not going to use it as a simple color picker. We're going to change the values directly. Underneath the advanced tab, there is something called RGB, and we have different channels. So for us to change the color for this, we're going to change the r to zero, green to zero, and blue to one. So this will give us a pure blue type of a color. And if we were to click, we're just going to get ourselves a neutral type of a normal map. Now we're going to attach this two A, And as for the alpha, we're going to create ourselves basically the same kind of a float parameter. So we're going to hold S and tap on a screen, like so, and we're going to call this normal intensity. So default value, we're going to select it as one. Since that's going to allow us to just get a basic normal value. We're going to attach this to Alpha and we're going to attach this to a normal. We're going to click control and S to save it. And now we're going to finally test it out how it looks like on the coins. So let's go ahead and close this down, and let's go ahead and try that out. We're going to go ahead and go onto the cold coins. We're going to double tap on it, and we're going to see that we have normal intensity value. So we're just going to Put this to the side within our viewport, so we can see the gold coins. We're going to enable this. And now, if we were to lower this, we can see that these coins are actually turning quite a bit flat like so. So a value of zero would mean that there is no no normal value at all. A value of one would mean it is a default type of value. And if we were to increase it even more above that, we can see that we are changing basically reapplying the same value of normal map onto one another, and we're going to get an insane amount of pump value out of it. So that's quite a nice way of us to have control over our normal values like so. So yeah, with this, we can change this to a value of something like 2.5. I think that's going to give us a really nice type of a value like so, and we can leave it as is. So thank you so much for watching. And then in the next lesson, we're going to continue working on setting up even more materials. So that's going to be quite fun as well. So yeah, I'll see in the next lesson. 127. Setting up Metal Material Instance: Welcome back, everyone to Blender and the Real Engine, become a dungeon prop artist course. In the last lesson, we set up some of the material instance value parameters in order to get more control over materials for the gold, and now we can basically change up our roughness at normal intensity values and get ourselves more control out of it without actually needing to go into the detection maps as well, so that helps us to get better results for the setup with an unreal engine. Now we're done with that, we're going to close this ham and continue working with the rest of the materials. We're going to actually go onto the assets tab. We're going to select material and material instances, and we're just going to continue on working with the rest of the set. Now we're done with gold coins, we're done with gold. We're now going to set up a gold trim sheet. So we're going to select both of them. Like so. We're going to right click, go to asset actions, replace reference, and we're going to select a longer one. Like so, we're going to consolidate assets, and we're going to get ourselves this type of a result. Now, I know at this point it's getting a bit more of a tedious kind of a process, but just make sure to take your time as always, replacing the references is quite a asset. If you end up replacing them wrongly. I'm just going to set up the trim sheet for now. So In order for us to do that, we're going to open this up, we're going to get these opened up lag. And we're going to actually go onto. I'm just going to close down material instances. We're going to go onto materials, textures, and we're going to find ourselves, of course, gold trim sheet, which should be underneath addition dungeon additional assets. Textures, we're going to find ourselves the dungeon gold trim sheet like this. Open it up, and we're going to get all of these assets. So now we're going to just like we did previously, replace them one by one, and we're going to get ourselves a nice type of a result. So just like that, we're going to get a really nice type of a setup. Now, if you have a look at it, we're going to have a bit of an issue right now because as we can see, there is a bit of a difference between the original gold and the gold trim sheet in regards to the glossiness in regards to how they shine. So we need to make sure that after adjusting a gold value for the texture information, we need to basically get ourselves the same type of a color information for this one, as well. So the way I'm going to do it is firstly, I'm going to locate the original gold that we had changed. I'm going to actually select this entire entire goblet. And now I'm going to go into the gold instance like so, which will open up a new tab, so forward to click on this one over here. It's going to open up a new tab over here. And then I'm going to actually locate myself the roughness value. I'm just going to open it up, and this will give me the type of information that I need. We're using the brightness value of 1.5 for it. I'm actually going to go back onto the gold trim sheet onto its folder and I'm going to open this up as well. Actually, I'll just close down this first. I'll go ahead and open this up. This is for the trim sheet. So in order for us to make sure that it has the same kind of reflectivity, we're going to increase this value quite a bit as well to 1.5 to basically the same value, and we should be getting the same type of a result. I'm just going to just in case going to check the base color how this looks, and I think that looks quite right. Okay. So, yeah, that's all it takes in order to get the same kind of reflectivity. We're not going to get the same kind of matching exactly down to a point because they are different textures, and there's going to be a certain amount of seams. So of course, there's going to be a bit of a change, but just by changing the roughness value to match the up, material, we're going to get much better results. So that's why another reason why we shouldn't work too much into the textures themselves unless we want to change the overall type of a look is because certain times they end up not matching the overall aesthetic and design of your props. So by changing them through the material instance, for example, if I were to change the normal, we can have more control and easily visualize how it would look like by just simply sliding this value, clicking and holding basically your left mouse. We can slide up and down this normal channel. Intensity. I think I'm going to keep it this, slightly increasing it, and I think that's going to look much much better in regards to that. So let's go ahead and leave it is. We're going to close this down and continue, of course, working with the rest of the textual material. Let's go ahead and go back onto the ***. Let's enable material and material instances. Let's scroll all the way down until we find ourselves gold. So we got ourselves the helmet feather. I think we're going to touch that in the eolesconthough. I think we're going to continue on with the Basic materials first. So we're going to select on dark and on dark instance. We're going to right click. We're going to go to asset actions and replace the references. We're going to select the larger one. We're going to consolidate assets, and we're going to, of course, delete the previous one. So now we're going to have this type of a result. So now we're going to double click on it, and within the conta browser, we're going to take off these. We're going to go onto the materials onto textures, and we're going to find ourselves the dark ion. So that is going to be dungeon iron dark. There you go. And of course, we're going to replace each one of them one by one, just like that. So it's already looking much much better. In regards to how it's being lit up in regards to its color. There you go. I think that's looking much nicer already. Might be a little bit too shiny for real engine. I think we need to lower down the roughness intensity or actually increase it, so we're going to enable the roughness intensity. We're going to just slightly take it off like so. And I think that's looking much much better actually. Just by doing this kind of adjustment, we're going to change it up because by default, it looked very glossy. So value of 1.3 or a value close to that. I think that's going to look quite nice. Okay, let's continue on working with the rest of the assets. Let's close this down, and I think we're going to go onto the materials onto material and material instances, and we're going to continue working with this. So we've got on dark which actually, it seems like there is another on dark in here. So I'm actually thinking about just changing it up real quick and see what kind of assets it changes because we already had on dark, so I'm not really sure why this is the case for this one. And I can see that we are also having on grainy and iron old over here. So let me just go ahead and quickly check that. The easiest way for us to check which material is being assigned onto which point, I think would be to just go into the material itself. Is not giving me the right kind of results. So this is visible, but on itself is not giving me any results. I'm not sure why that is happening. Just going to click Control and S to save it out, actually, and that disappeared right away. So yeah, I think it was left behind just didn't refresh, didn't update. So also on that note, let's make sure that we save out our project. So by clicking, Control and S, we can save out our project or alternatively, we can also go to upper left corner. We can click file, and we can simply select Save current level. Or also, we can click save all, which will save not only the level, it will also save the assets as well and everything that we just changed. So by clicking on this, we're going to just save everything out. And just in case it's better to do it like this. But this naturally takes a longer time to save out to get all of those assets saved up. So I recommend you doing control shift and S every once in a while only and doing control and S you save out your changes within level. And if you are within something like a material and you're doing changes within there, by clicking control and S, you save it out, you're only saving out your material within that graph. So, for example, once this is done loading up, as I said, it does take a while to get this loaded. But once we're done, we're going to be able to get this type of result. So for example, now we're done with it, if I was to change something within a material or material instance and then clear control on S, it would basically save out this material only. So that's something worth noting. It basically saves out the window that you're at and nothing more. Yeah, we still have a little bit of time to get one more material in so think we're going to do that. We're going to get ourselves an on grainy. Let's go ahead and select both of them. We're going to right click. We're going to use Act actions, replace reference, and we're going to select on grainy consolidate the delete and there you go. We're going to open up the material by double click on it. Take it off both of these filters. We're going to go onto the textures. We're going to find ourselves on grainy, which should be if we were to scroll down low enough. Dungeon iron grainy. Let's go ahead and select it. And now we're going to basically do what we did before. Let's go ahead and select ambit occlusion, assign it, base color, assign, metallic assign. Direct x normal assign, and finally, roughness assign. There you go. Now, let's go ahead and check it real quick, how this looks. I think it was placed for as bolts I believe or over here. I think it looks a little bit too shiny. Maybe maybe it's going to look quite right. I think I'm going to leave it as this for now. Maybe I'll just switch up to lighting to check how they look in regards to different light setup. But all in all, I think I quite like this shininess for this grainy metal. So but now though, let's go ahead and leave it as, and we might need to come back later to check how they look in the future once we've got everything out of the way. Yeah, we're going to continue on working with these materials in the next lesson, we're actually going to start off setting up the wood and the rest of the basic materials that we need for these assets. So thank you so much for watching, and I'll see in the next one. 128. Fixing Material Reference: And welcome back everyone to Blender and Unreal Engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting some of those metal materials on our assets. And now we're going to continue working with the rest of the materials and continue setting everything up. We still have a long way to go, so let's bear with it, and let's continue adjusting each and every one of them to make sure they fit within unreal engine scene. So let's go ahead and do that. We still got ourselves and on. So let's go ahead and select it. And actually, let's make sure that we have material and material instance on. And I'm just going to go down again to on old. I think it was iron old. Let me just find the iron that we were looking for. And seem to find it over here. So I'm just going to search within a search floor for iron. And it seems I got dark, grainy and there go. It's weapon iron. So there go. I'm going to select both of them. I'm just going to right click and I'm going to replace references. This one over here. Consolidated materials, to delete it like so. So now we have this one attached onto our weapons. A I'm not sure where it's being used actually, but I'm pretty sure we'll be able to see that once we get this changed up. So let's go ahead and just do that right away. Weapon in instance. Let's go ahead and open this up, go all the way up to the textures, and let's change up this folder to get ourselves the new iron, which is this one over here. Let's go ahead and open this up. And we're going to change each one of them one by one, like we did previously. So just like that, we're going to change. And find the roughness value. There you go. And I'm thinking if this looks a little bit too shiny as a metal. But maybe it's going to look quite right. Let's go ahead and just see how this looks like. And I'm trying to think where this would be used actually. I'm going to get ourselves the material. And I'm going to actually just go into material instances, search for that. This one weapon on, where is this going to be used? That's actually going to be used within if I were to search for it. And I think the easiest way for us to go through it would be if I were to simply get all of these assets and just put it in a search bar for weapon so. And we can go through each one of them, like so. So by selecting one of the assets for the outliner, we can now go for each one of them, like so and it's going to have the search bar of a weapon. And this way, we can just go for each one of them and they go, it's props for the helmet. It's going to be used over here. So this is what's going to be using this type of a metal. Let's go ahead and just check it just in case. I'm going to just play around a little bit with, for example, the roughness and see if it changes anything within it. Doesn't seem to be doing so. Maybe I'll try playing around with the weapon instance, which still doesn't seem to be giving me any type of issues. So I'm actually checking, and it feels like I have not just I have not changed up this material for the helmet. So just in case I'm actually just going to enable both of them and see a search for a weapon. But I'm actually just going to go down and there you go. So it seems like I have not replaced these yet. I'm just going to quickly replace the references with this one over here. D the previous one and here you go. Now, it seems to be working quite well. It seems like it's giving us the right type of a result for our helmet. So that's going to be much nicer. We might need to change up to roughness values just a little bit by increasing it just a little bit so we're going to get ourselves a nicer type of a result. And I'm going to play around with the normal values a little bit as well just to see what kind of interesting pattern we're going to get. Maybe something of a higher normal value. I think that's going to give us a much nicer type of a reflection of this helmet. I think we're going to keep it as is for now in worst case. If we see a material that doesn't fit in with the same material instance, we can always make a duplicate and just change that material instance and fix up the intensity for them or the roughness values. But for now though, I think that's going to look quite alright. I think we're going to move onto setting up our v tecture so let's go ahead and do that. We're going to, of course, within the assets folder. We're going to search for the materials as well. So right now, we have all the materials over here, and seems like there were some of the materials that didn't get replaced. I'm just going to I'm not sure why that is. I think it was because there were a couple of material duplicates within this asset folder. And actually, I'm just going to click Control and S just to save out this scene and see if that fixes it. Yes, it does seem to fix it. So by just saving out a level, it feels like it refreshes our Content browser, and it gives us the right type of a setup. So now, both of these Ron dark and Ron grainy are gone, the original materials. Iron ol though we need to change that up as well. So we're going to actually go ahead and do that. Going to select them right click Act actions, replace. Which is going to make sure I have them both selected. And just looking at it, it doesn't seem like there is a replacement, so I'm not sure why that is the case. So just going to check it once more. And just going to click reload and it seems like it cannot be reloaded. I'm just wondering why that is. Seems like there's a texture missing. In this case, if I were to open up the material, this is going to be just fine. But if I were to try to open up on old instance, it's going to give us an empty thing. So I think it's because this one is actually empty at the moment, and we need to replace in old. So I'm actually going to quickly do that. I'm going to get myself one of the materials. I'm going to select actually iron old material, just going to copy its name, like so, clicking F two, copying the materials name, and I'm going to make a duplicate out of one of the material instances that we did previously that we worked previously on. So going to create material instance. There you go, clicking Control V to duplicate the name and calling it instance and calling instance one at this point because it seems like this one is just doesn't get replaced. So in this case, we're going to actually select all three of them like so. We're going to right click. We're going to go on to asset actions, and we're going to actually just reset, doesn't seem to work. That's okay. There you go. So it seems like I'm just going to fix this up. Again, this one is not doesn't seem to be wanting to work. I'm just going to delete it like so, and there you go. Because it allows us to just delete it straight away, it means that there is no references attached to that material. If I want to delete something like this, for example, it's going to ask straight away if I want to forcefully delete it, which means that all of these assets are using this type of a material. Of course, we don't want this to happen. And if I were to just simply delete this one, which, again, I didn't use anything for. Now I can just delete, and it's not going to ask me to forcibly delete, just simply delete. But honestly, if we want to see what kind of references are being applied onto assets, we can right click and we can select a reference viewer, which will open up this sort of window. It shows which which material is being applied onto what, and also shows which assets are using it, which is pretty nice, actually, it's really nice to look at and check which are assigned. So that's quite good. Okay, so continuing on with this, we still got a whole bunch of other assets to sort out and fix up. But I think we're going to continue on working with this in the next lesson. So yeah, that's going to be it for now. Thank you so much for watching, and I'll see you in a bit. 129. Applying Grainy Metal: Hello, and welcome back ero on to Blender and the Real Engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting some of the metal material for our assets. And this lesson, we're going to continue working on these assets and going to set up even more assets and link them together to our props. And so we're going to actually just get ourselves onto the next one. So this time, it's going to be where to scroll through them. I think we can just start off on getting, let's see, we've done a gold trim. We're going to move on from a helmet feather for now. In old. We've done that as well, although it's not. So we had some issues with this, and I'm wondering if to type and old. If we can see that underneath our assets, it doesn't seem to be the case. So I'm just quickly going to check the references to open up the reference viewer, and we are using a lot of them actually a lot of this material. So I'm going to go ahead and fix that up real quick. I think the easiest way is if I were to create a new material instance for this iron old, so I'm just going to actually grab doesn't actually matter. I'm just going to grab either one of those material instances for the gold, going to create material instance out of this. And I'm just going to call this iron old. I'm going to call this old instance, like so. And it should be like this. Now it seems like it disappeared a day ago. Now it seems like we have those two. I'm just going to replace them and get myself up with the asset actions, replace references, and I'm just going to get this iron old instance. And of course, this is going to be gold for now, so we need to fix that up because we're going to get ourselves some nice gold chains, which Maybe not something that we want for our dungeon scene, but it does look quite fancy at moment. So it might look quite nice. But of course, we're going to need to change that regardless. So let's go ahead and go into this iron old. Let's open up the iron old instance, like the one that we have over here. We're going to make sure that each one of them is Tyton since it was created as a new material instance out of that instance, it didn't have the tickon. So now we just need to reasign them just like that and make sure that we have ourselves a nice. Type of a metal for these chains. I think that looks quite nice actually. Yeah, it does look really nice actually. So yeah. This is quite a good metal. We might need to adjust the roughness value just by a little bit. So we're going to increase this up to a value of 1.2. I think that's going to look much, much nicer in regards to it being metallic like that. Let's go ahead and close this down. And now we're going to continue working with our materials. So let's go ahead and enable both material and material instance. And this time, we've done iron, and I'm looking that we actually have iron gray knee. So I'm just going to check the reference, and we do have this re attached. So I'm just wondering what is going on with that? Why have we not replaced this? I'm just going to look into it real quick. And it seems like we might have left off this type of iron. I'm just wondering if it's even needed to be honest in this case. I'm just going to check content real quick. Just going to take this off, go into the texture folder, and just going to check what kind of iron we have. So we have iron dark, iron grainy iron old and weapon iron. This one was for a element, for example. I'm going to check this type of a metal. Go to go into it. And yeah, I think I replaced the wrong type of a metal for the element. I was seeing that it doesn't look quite as nice, but it's actually quite an easy fix for us to go and go ahead and fix that up. So we're going to go ahead and just open up the weapon one that we had previously. So let's go ahead and just quickly find ourselves and make sure that it is set up properly. So we're going to go into There you go, weapon iron. We're going to open this up. And we're going to quickly change this up, and we're going to get ourselves a nicer type of a metallic value for this type of a helmet. There you go. And it seems like we get it fixed, and it's going to look much much better in regards to that. Just going to check how the reflection looks like for the helmet. And if it's not too reflective, maybe we're going to leave it as is for now, and I think we might need to come back to it later though, but that's going to be different based on the type of lighting, and I'm just going to scroll down and see how it looks like. And I think Reflectiveness is actually quite neat in regards to this area. So I think I'm going to leave it as is. Now we're going to go back onto our materials. We're going to enable material and material instances. And we're going to set ourselves up with a grainy material for the metal. But I'm just looking at it if we have iron old There you go. It's going to open this up, and check. So it seems like at certain points, basically, we're getting certain issues with replacing the references photo textures. But I'm just trying to check if it's going to look quite alright. So these are two, for example, together, and I'll want to change that up first. So I'm just going to go ahead and go to asset actions. It seems like this is going to be quite nice. Okay, so ronrany we need to check for that. Going to search for grain. And it seems like we already replaced that with iron old. Actually, I'm just going to right going to check for references within the viewer. And it seems like it is using this one, which is being applied onto the shield and bed. Just going to check how they look like. The shield is going to be this one over here. I'm actually going to move this one to the side. So right now, I'm just checking which one it is being used on, and it seems like it's being used on a bed, for example. Just going to zoom in a little bit. It seems like not a bad sorry. The torture device is being used on these ones over here, and they seem to be red, which is, because we can now add those texture maps. So let's go ahead and just double click on it, and let's go ahead and simply add them up. So I'm just going to, of course, take off the filters. Just move this up a little bit and open up the textures. This is going to be iron grainy. So let's go ahead and open the iron grainy and just simply start replacing them up. So just in the same type of order, we're going to go one by one and start replacing these up. So opacity doesn't have opacity, then roughness, there you go. And we're going to get this sort of result. So it might be a little bit too glossy for our area for the chain. So I think I'll just by default, just take this down by quite a bit, actually. Here you go. So we want to have a certain amount of metallic look, but not by too much. So taking this down by quite a bit. I think that's going to help us out in regards to lighting it up and making it look more like a rough and type of a metal. I think that's going to look quite nice. But it does look a little bit too smooth in regards to that. I think I'm going to go into if I were to select this and go to scroll down through this entire list on the bottom right hand corner, open up the iron grainy that we had just switched it up and change up the normal intensity. So I think I'm just going to increase it by quite a bit, not by too much, though. You a value of 3.5. I think that's going to give us a much much nicer type of a result or these metals. So going to check the other ones that are using this same type of iron graining. So I'm just going to click and search for the iron graining within the materials themselves. Then I'm going to right click open up the reference viewer and see which ones are being used by this. So I'm just going to open this up and see that this is being used by the dungeon weapons as well. Going to check how they look like. And I think were to just change how the sun behaves clicking and holding control in L. We can see that they do look quite nice actually. Trying to figure out which ones are being applied onto those weapon racks. One way that we can do it is if we were to just take off the iron grainy by clicking on reset to default value. We can just take it off and see how it looks like or actually going to click on this one over here. Doesn't seem to be doing anything at the moment, because, of course, we replaced the original type of a material. So if I were to click on this and just change something to one of the default ones that are quite obvious and quite stands out, we can see the type of a material that is being used within this area. But of course it takes a bit of a time to load up. Still doesn't show up there ago. So it's being used for the handles over here. Now that I know that they're being used for the handles. I'm actually just going to go ahead and change them back to the original grainy metal. So we were doing this because we wanted to figure out whether or not the bumpiness of these textures that we set up for the material is set up properly. And T, just by looking at it, it does look quite nice. So let's go ahead and keep it as is and move on with the upper textures. So we're going to continue on with this in the next lesson. We still got some lever straps and some wood to finish off. And of course, then we can work on our transparent materials and our details and whatnot. So yeah, we're going to leave that in the next lesson. Thank you so much for watching, and I'll see it in a bit. 130. Setting up Roughness Contrast: Hello, and welcome back Von to Blender and on real Engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting some of that metal material on our swords and fixing up some of those references we had before. And this lesson, we're going to continue working with the material instances and just replacing the references. So we're just going to go back onto the assets folder. We're going to go onto material and material instances. Bilter and we're going to, of course, go all the way down until we get to the lever straps. So that's going to be lever parchment first. Let's go ahead and select both of them. So, let's right click. Let's go ahead and replace the references. Replace the reference instance, consolidate assets. Let's go ahead and delete it, and that's going to be it. Of course, we need to make sure that we are setting it up properly, so we're going to double click on it to open it up, going to take off the material instances like so. Time, we're going to go into the texture folder, we're going to find ourselves lever parchment. Which is if we were to go through this entire list. I'm actually going to make this much smaller, so by holding control, we can actually just scroll down a little bit and make a different change to the scale that A R. I'm just going to make it much smaller like so it's going to be much easier for us to see. And I think it's going to be this one over here. There you go. Let's go ahead and select it. I'm going to hold control, just zoom in so I could see which ones are which. So this one is ambient occlusion. Let's go ahead and change it up, base color. Change that up, metallic, change that up. Normal change opacity we don't use, and roughness, there you go. So we're going to get ourselves this sort of a result. And I think by default, it's way, way too shiny, so it's going to be causing us a lot of issues within and real engines. So we're going to change that up. We're going to go to the roughness intensity, and we're going to slightly increase this so we can see how it looks like on the sphere. I think that's going to look much, much nicer in regards to that. And also, I'm just looking at the variation of roughness. And I think we can also increase the intensity or the roughness instead. But instead of just changing it up within the curvature within this texture itself, how we did previously in regards to the brights curve, we're actually going to change the intensity to change the variation to make it look like it has more of an intense roughness differences. We're going to actually go ahead and set up ourselves a new material value for that. What we're going to do is actually we're going to close this down and instead of just finding the material through our folders, we're going to scroll down until we find ourselves a parent. So a parent is basically what the material instance is using in order to get all those parameter information for our material. So now we're going to double click on it and open up our original PBR material, which is going to give us this sort of a result. So now, in regards to the roughness value, we already have intensity, but we don't have a lot of control in regards to its contrast. So we're going to just basically right click, we're going to search for contrast, and we're going to make use out of a cheap contrast. Now, cheap contrast is only used for black and white colors. If we want to set up something for our color information, we'd have to use a cheap contrast GB. But this one is just going to be just fine, since it is for roughness value. Let's go ahead and select it, and we're basically going to put in the multiplied value that's already of our intensity. And then we're going to get the result into the roughness value like so. Now, but a roughness value itself. This is where we put it in, by the way. We're going to hold as, tap on the screen, and we're going to call this roughness contrast. So if we were to just type it in properly, the contrast, like so. And we're going to, of course, put this into here. Now, default value is going to have to be set as one. Give us a default, nice type of a value. Now, if we were to hit control and as to save this out, of course, it'll take some time to reapply this entire material shader, which is totally okay. But once it is done, we can close this down in the tab upper left corner, and we're going to get ourselves some roughness contrast value over here. So if we were to enable this actually. This looks a little bit interesting. I'm going to go ahead and check real quick if that is exactly the type of a value. I'm going to go back into the PVR value. In order for us to check how this is being affected with the cheap contrast, we can actually right click on this and we can preview this node. By clicking, start preview node, we can just preview how this is going to look like after the cheap contrast. I think if I were to set this to zero, let me just check how this would look. I'm actually going to open up the plane just so we could see how this would look like within our view. I'm thinking maybe one I think one is actually increasing this contrast value. So I'm going to, for example, start preview mode within a texture itself, just a normal texture. So this is the type of result that we want to get as a default, basically, the original one. So if we were to right click and start preview mode with the one as a default value. I think that's going to give us a bit more of an increased value. Yeah. I believe that's the case. So by default, we actually need to leave this as a value of zero. Now if we were to click control and say it, it's going to be much faster because we already had those notes, we just changed a simple value within it for a default value. So now if we close this down and just take this off for roughness contrast and actually click on this value over here. We set this property to its default value. We're going to see the original value that we had. But if we were to just slightly increase this by a little bit like so, we're going to get a much nicer result in regards to the contrast of this reflection. So it's going to give us a really nice type of a look. I think I'm just going to also increase the intensity a little bit to get this a look. Now, let's go ahead and actually look how it's going to look like within our set for the level parchment, and it looks pretty good. I'm also going to move the light a little bit just to see how these reflections are going to look like. And yeah, it looks quite nice, actually. I quite like that. So let's go ahead and keep it as is. So now, of course, since we are building this up these textures, even if we go onto our previous assets, we're going to get ourselves to the roughness contracts as well. So if we want to go back and change those values, we can do so. But honestly, for all the previous ones, it didn't look like we needed to change pretty much anything. So we can leave it as is, and we can continue on working with the rest of our texture. So let's go back onto the materials onto our assets, actually. Sorry, onto our assets. Let's enable the material and material instance. And actually, I think I'll just take off the static mesh as well in this case. So in case you just had additional filters by accident, or in case you clicked one of those ones which has multiple variations, for example, if we were to click on material, like so, and we can have a bunch of those options right now in our area. So obviously, that wouldn't be quite as nice to look at. So what we have to do is we can just right click and we can just simply select remove all filters, or We can also go ahead and material function, material instance. That's going to be a little bit easier for us. If we were to click on a material instance, remove all but this material instance, we're going to get everything removed except for this, which is pretty nice. Then of course, we'll need material just like we had previously, and we're going to get these sorts like so. Okay. So moving on, what we can do. Once we start doing a lot of these, it might start glitching out because of the amount of redirectors. I'm going to actually take both of these material and material instance, go on to content, right click on assets folder. And in this one, there's something called fix up redirectors in folder. So we're to click on that is going to fix all of them up and hopefully. Now if we were to, of course, go to material and material instance, we shouldn't be. We're still seeing that, so I'm not sure why that is the case to be honest, but it doesn't seem to be getting in our way. I'm just going to right click and see. Reference viewer. So let's go ahead and do that real quick. And parchment seems to be using it, but at the same time, it should be replaced. So I'm just in case. I'm just going to right click, see the asset actions, and I'm going to actually replace it again. I'm not sure why that was happening, but I'm just going to do it just in case again like so. So just going to delete it. And there you go. All right. It was still being applied onto the parchment onto the scroll area over here, so it wasn't quite sure why that was happening. All in all, I think that looks quite nice already as is. We just need to continue working with level straps right now. So let's go ahead and select them, select them both, right click and then asset actions, replace reference. Our we're going to select the longer one, consolidate, delete, and Ourse we're going to go into it, going to make this window smaller and going to take off both of these filters back onto the folder, tus, and of course, this one is going to be called level straps. So let's go ahead and find ourselves level straps that we want. So this is going to be and it's going to be right over here, level straps. Let's go ahead and open this up. And just like we did previously, we're going to just simply resign all of these onto here. So just like that. You're going to apply every single one of them, except for pacity of course. Roughness. There you go. We now have ourselves a really nice lever for it to be used on, for example, the front of the chest. So yeah, we're just about finished up. We still need a couple of extra materials done. So we're not quite there chest yet. So that's going to be continued in the next couple of lessons. So thank you so much for watching, and I'll see you in a bit. 131. Adjusting Base Color Values: Welcome back, everyone to blend the Turn real engine, become Dungeon prop art discourse. In the last lesson, we left it off by setting some of the roughness contrast values and getting ourselves finished with the level straps. So now we're going to continue on working with the materials, and this time, we're going to go into the assets. We're going to select material instances, materials. And then we're going to go all the way down until we get to the last finished ones, which was leve straps. This time, of course, we're going to move on from the PBR material. That's the original one that we switched up. So we're not going to touch that. Let's make sure that we keep it as it is. And then we're going to basically switch up the red Wax material with red Wax material instance, and we're going to select both of them while holding control. Right click, create material instance. Sorry about that. No material instance. I'm just going to delete them right away, since you're not going to be used. Just click the wrong button. We're going to go to asset actions instead and replace the reference. So we're going to select the one that's as longer text. We're going to consolidate. Delete it and now we have everything replaced. But of course, we're not quite done just yet because, as you can see, the texture is not quite there yet. So we need to go into material instance. We need to go all the way up like so onto materials onto texture folder. And then we're going to, of course, find ourselves the a red wax. We're just going to scroll through this entire list until we find ourselves is going to be wax and wax red. There you go. We're going to open this up. Of course, we're going to select ambit dclusion over here. We're going to click on this button here, and of course, we're just going to go through every single one of them just like that. By simply doing that, we're going to get ourselves. This sort of a result. Now, I'm just wondering if it's going to be to glossy or not or if it's actually just right result, and I think it's actually a little bit too bright in regards to how this looks. So we might want to darken this down. And the way we're going to do it is actually rather simple. We're also going to make some adjustments to the texture. So I think I'll show you firstly how to make quick adjustments to the texture color itself, not going through the material instance and making parameters forh it. So by simply going into the base color, we have a couple of options. So if we were to scroll down, We've already talked a little bit about brightness adjustment. And if we were to lower this, of course, we can darken this down by quite a bit. So I think keeping it to a value of 0.8 is going to give us better result. Then we also have, of course, brightness curve, which if we were to play around with it, I think I made it a little bit too much. We're going to get a much more intense type of a look. So I think we can get this to a value of 0.1 0.2, I think it's going to look already pretty nice. But in my opinion, I think because the scrolls are looking so nice. I think we can change that up to add a little bit more of an offset in regards to the color. Right now, it looks a little bit too colorful. So what we can do is within the saturation, we can lower this down, and what this will do is basically it'll take off all the color if we were to go all the way to zero, it will give us basically black and white, sort of a color. So of course, we don't want this. And if we were to go the other way, it's going to saturate it, so it's going to make it the colors all more vibrant and whatnot. So that's also quite nice. So I think by lowering this down just a little bit to a value of 0.8, it's going to give us this sort of result and I think it's already looking much much better in regards to the unreal engine preview. Also by accident, I had my scalability set too low. So I'm just going to set it too high, just so I could see it more with the shadows. And even so, even on different lighting quality is going to look much nicer. And I think I'm just going to low it down just a little bit more like so. Yeah, there you go. That's already looking really nice, actually. So another option that we have under here is going to be called a hue. And this one, what this will do is basically if we were to change us up to this, we can see that it actually changes the color of our texture. So we can make use of this and adjust our texture the way we want it to be. And I think zero is going to give it's going to give us the default. So if we were to add this to, like, at a two variation is going to give us more of an orange type of a tint. And I think that's going to be much nicer in our team we've done real engine setup. So let's go ahead and keep it as is. That's going to look much better as a wax. So let's go ahead and now close this down and it's going to save it up and from a distance, it's going to look quite nice. Though, I think I overdid it. I think I'm going to go on to the base color and just lower this down the value to 1.5. We don't need to overdo it because just a bare minimum is going to give us from this to 1.5, it is. I think it's already looking quite nice. And from a distance, yeah, from a distance is going to look real nice as well. Let's go ahead and keep it as is. And let's continue working down the list of our assets materials. Let's go back onto assets folder, select both material incense and material and scroll all the way down until we get ourselves to the right wax. And now we have ourselves rope. So in regards to the rope, it's actually going to be super simple. All we got to do firstly is we got to set up the first rope. And then instead of just changing up the second rope texture, what we can do is make adjustments to the color itself, and we're going to go over the basics on how to change the color fruit and material texture itself. So let's go ahead and do that right away. For cards though, I think I'll change the first rope. So we could see how it looks like within this view on our torture devices. So let's go ahead and select the rope instance and the first rope. And let's right click, set asset actions and replace reference. And of course, we're going to pick the larger text. We're going to consolidate texts, consolidate assets. We're going to click delete. And of course, we now need to change up the textures. So let's go into the material instance. Let's close down these filters like so. Let's open up the folder and textures. Then we're going to find ourselves the rope. So we're going to find this one over here. And of course, we now need to do what we did previously. So Ambclusion change that up, base color, change that up, metallic, normal, and finally, roughness value. And for some reason, I've noticed that I actually mixed up the roughness and capacity. So I'm just going to be updating that real quick. And if we ever want to change, for example, texture maps and add some certain detail, for example, within photos and whatnot, we can always change them up upwards. All we got to do is simply select the type of texture that you want to replace. And if you replaced the original one from where this texture was located, all you got to do is simply right click and then report. And actually, This is going to be the roughness value. So sorry about that. We need to just click import and there you go. So now we're just going to reuse this one, and this will give us a much nicer result. Although it's a little bit too shiny. So I think we need to take this down a notch. So let's go ahead and do that. We're going to go ahead and enable roughness intensity and just increase this by quite a bit, actually. Like so. I think we should increase it up to a value of eight. I think that's going to give us a really nice result. I'm just going to play around with it a little bit just to see what kind of a detail I want. And I think that's going to be quite all right. There you go. That's going to be quite nice. But we might need to turn down the amount of roughness we have within the contrast because it is such a small type of a rope or a detailed sohing. It'd be best if we were to go onto the roughness contrast and simply change that up a little bit sofing If we were to lower this down, we're going to basically decrease the contrast and kind of get it more blended up in regards to the entire roughness values. So now it's going to be much, much nicer to use. And of course, we need to set it up for the second rope. So firstly, we're going to go onto our onto our PVR material leg so we're going to basically get ourselves a parameter that will allow us to change the color of our base color texture. So let's go ahead and do that. What we'll need to use is basically what we already used within the normal map. So this one over here. We're going to also create a vector free. So let's hold free and tap on our material graph to get this sort of result. And by default, this has to be a value, a value of one. So what we're going to do is we're going to increase this all the way up to a value of one. And if you can see here, it says one. So let's just make sure that this is set as one. And basically, this will give us a pure white type of a map. Which is actually exactly what we want because we now need to multiply this with our base color. And if we were to do that, we're going to we're going to hold, tap on a screen, and I just realized that my own screen keyboard stopped working, so I'm just going to redo these steps real quick. So again, holding free, tapping on a screen, and then holding M, tapping on the screen, multiply the vector free has to be white, set as white because we're going to be multiplying this with our initial base color value. So if we were to multiply these and because this is set as one, so any color information multiplied by one, is just going to give you exactly the same result. So after we multiply this with the base color and hit control on S, we're going to get the right type of a value. So let's go ahead and wait wait for the shader to compile. And once we're done with that, we're going to go back onto the rope instance, and what you'll see is that we actually were to go up, And actually, I forgot to turn on the parameters. We're going to need to go back and actually set this vector free to be parameters. I'm just going to actually maximize this window real quick. All we got to do is just right click, convert this to a parameter, and we can call this color multiplier. Now we can go ahead and click Control and S to make sure we save this out, and this will allow us to compile all of the necessary shaders. Now we can close this down and finally go back onto our rope instance, and of course, we're going to have ourselves color multiply it. So if we were to enable this, we can pretty much change up the color value by just clicking on this box over here. And basically, if we were to change this up, we can see the type of a difference that's going to make. So I think we're just going to keep this as a default value of one for now for the completely default type of a texture. But we're now going to go onto the second rope part. So we're going to actually go back onto our assets enable material instances and material, and we're going to scroll down until we find the rope two. We're going to actually, we're going to find a rope one material instance. We're going to select this. We're going to clear Control D to duplicate it, and we're just going to get ourselves rope two. I'm just going to rename it rope underscore two underscore instance. And then we're going to just open this up or actually, we can right away just change up the rope. You get ourselves to make it faster a little bit, so we're going to go into assets because it went back onto the material. Now we are going to go back onto assets, and we're just going to find ourselves to rope two instance and rope two material, we're going to right click and we're going to go to asset actions, replace references, and of course, we're going to pick the larger one. Consolidated assets, delete just like we always do. Then we're going to go to rope two, and I'm actually just going to make this window smaller like so, and of course, we need to make sure that the rope, which I believe is actually not loading up properly. I'm not sure why that is the case. I'm just going to change up the scalability from low to high and see what's up. That doesn't seem to help out much. Let me try changing up the color and hopefully that I can change up the color, but it doesn't seem to want to load up our entire textures. I'm not quite sure what's going on. I'm just going to take off the filters and hopefully that will help in regards to getting those textures back. Doesn't seem to work as much. So I'm just wondering what is going on. I'm just going to go into the texture, open up the default texture and see what's up. And there you go now, it's loaded up properly. But still, there's no normal map. So I'm not sure what's going on. There you go. So it seems like I had to open up in order to reload it within my own real engine, which is Honestly, probably because I have so many programs opened up at the moment, so I just had to close certain amount of them. I have to close down my editing software, and that seems to have fixed an issue. But anyway, if it doesn't load up, just make sure to reopen your textures, and that seems to just reload them, and now it's working out fine. So I'm just going to change up the color just a little bit for the second rope, actually. So I'm just going to close it down. Pick the second rope from the bottom right. I had the torture chamber bed selected, then I'm just going to make sure that this is set up right nicely. There you go. Click Okay. Close this down. And now we're still having some issue with the rope. I'm not sure what's happening with that, but we're going to figure that out in the next lesson. So thank you so much for watching, and I'll see you in a bit. 132. Setting up Scroll Roughness using Buffer Visualiser: Welcome back Evern to Blender and R engine become a Dungeon prop artist course. And the last lesson, we left off by getting some color variations for our ropes, and actually, they're not loading up properly, so I'm trying to figure out what's going on with them. And I think I'll just start off by trying to save out the entire project and see what's going to happen. So I'm going to click Control and S to save that out. It doesn't seem to do anything. So I'm just going to click Control Shift and S. And now, It should save up our entire project, which still doesn't seem to fix our issue. So what I'm actually going to do is I'm going to right now we have material instance and materials. This time, I want us to go onto the material acid filter. I want us to go into finding ourselves texture. So this is going to be here over here. Let's go ahead and select it. And it's going to give us all of the textures like so within a texture folder. We're just going to select one. We're going to hit control A to make sure we select them all. Right now, we're going to right click and select reimport. And this should give us the right result. Now, I'm also getting reimport missing piles because I had pacity. I think I had to deleted when I was switching them up in regards to the roughness values, but I'm just going to click No and that's just going to avoid the issue of not finding our entire asset. So anyway, once we do that, it's going to get us all of the assets reimported and as you can see, we have ourselves the gold now fixed, but it does take some time to re import all of those textures. So let's just wait a little bit until everything loads up. And we're going to have everything reloaded. So that's going to be quite nice. Now our gold is fixed, and our rope is set as well, which actually looking at it, it doesn't seem to be to have been fixed. I'm just going to go lower the entire section, just going to find myself the rope, and it's going to be this one over here. I'm actually just going to turn off the entire section for filtering. And I'm going to find the folder that it was on. So this is going to be rope this one over here, just going to open it up and just going to go through every single one of them and now see, and it's gone back to normal. So I'm not sure why that was the case after opening them up. It seems to have gone back to normal, which I'm quite pleased with. But now we can continue on working with the rest of the materials. Let's go ahead and do that. We're going to go back onto the assets. We're going to open up the material and material instance. I'm actually just going to close down the texture, so I'm just going to right click and remove a texture. There you go. And of course, we're going to go all the way down until we get to the rope. There you go. That's the one over here. And now we're going to get both of these for the scroll. We're going to right click, we're going to go to asset actions, replace references, and we're going to get the larger name, consolidate assets, and now we're going to delete, and we're going to get hot this type of a situation. Of course, we need to fix that up. We're going to take off material insets and material. We're going to go onto the textures folder, and we're going to find ourselves the scrolls. Let's go ahead and do that. I think that's going to be if we have a look at it. Going to be this one over here. Let's go ahead and open that up. Of course, we need to make sure that we have the texture setup for it as well. Let's go ahead and get ourselves into the scroll. Let's open up the scroll paper, this one over here. Of course, we need to get ourselves these replaced. Let's go ahead and do that. Going to get started with Amit occlusion. Then I realize that I misclicked. So we got to make sure we clicked the right type of a button, which is actually okay because we have this button over here on the bottom left hand corner within Ca browser, which will take us back to our previous location. If we were to click on it, which is going to end up going back to our scroll paper, which is quite convenient. So let's go ahead and just continue going through each one of them, like so one by one until we get all of them changed up. So just like that, We're going to get this sort of result. Now, I think by default, they are a bit too light, so I'm going to lower down this entire texture. I'm thinking that can either make use out of the base color or we can set up a color multiplier, just to lower down this entire value. And I think I'll do it using color multiplier because it's easier to see visually whenever it's getting changed because it does it in real time, straight away, we don't have to wait and there's no delay, so let's go ahead and get this opened, and we're going to click on this button over here. And we're just going to lower down this value a little bit. Just by a little bit. Actually, I'm just going to try to lower it down by quite a bit. Yeah, we're going to lower it down by a value of 0.8. I think that's going to be quite all right. And that's all we're going to do. We're not going to touch it anymore because just by darkening it, I think that's going to give us the right type of a look. So let's go ahead now and close this down. And actually, I'd like to check how the roughness value is going to look like as well. So I'm actually going to open up the roughness value just to see how this looks like, and I think I'm going to change that within the material mode as well. Since once we set it up within the material, it's actually much easier to use that. So let's go ahead and enable both of them roughness and intensity. And sometimes what I'd like to do is I like to visualize myself the roughness value instead of just using the light color information in the way it bounces so because usually, it really depends on the type of an atmosphere that we have. It really depends if we're having like a night scene or whatnot. So we need to make sure that we visually have a nice type of a look. And so the way we can actually perceive the roughness value is actually by going on the upper left corner. There is something called lit. If we were to click on it, we have different perspectives basically on visualizations of unreal engines information that we have. And the one that we actually want to make use of is going to be, yeah, it's going to be the buffer visualization, which will give us a bunch of values. And the one that we want to use is going to be called roughness. If we were to click on it, we're going to see all the roughness value information for this type of a scroll. So right away, I think by default, it's going to be just a tad bit too much in regards to the contrast. I'm just going to lower this to a negative value and this sort of result. I think yeah go -0.4, -0.4, like so. But of course, that's going to lower down the brightness if we're to disable this and enable this, we can see before and after. So we are going to increase intensity by quite a little bit like so, and I think this is going to give us the right type of a result. So before and after, just a little bit more like so. I think that's going to give us a much nicer result. So Yeah. There you go. Now we can and see how it looks like with the right proper lighting. Let's go ahead and go from roughness to lit back to lit mode, like so, and we can see that it's actually looking much much nicer. There you go. It looks a bit smoother as a paper. I think that's going to be quite all right. I'm just wondering in regards to the paper for the normal information if we need to amplify it out or not, but probably not. So let's go ahead and keep it as we do want to have a certain amount of stylized field to this entire scroll. Now, of course, we can continue on with the rest of the detections. Let's go ahead and go onto the material stab and see which ones are left. And we got silver, straw, water. We got some wood as well. And of course, we've got some leftovers from the very front. So in the next lesson, we'll be able to finish off the rest of the material instances for the basic ones, and then we're going to be able to finally move on onto changing up the water material as well as setting up some decals. So thank you so much for watching, and I'll see in the next one. 133. Applying Material Instances at a pace: Welcome back. Every on to Blender and real engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting up the scroll value roughness values. And now in this lesson, we're going to continue on by setting up some of those basic materials and actually finish them up finally what the basic ones that is and then continue on moving with the opacity materials. So for now, we're just going to go ahead and get through them in the same kind of a method that we did before. We'll start off with the silver basic. And actually, we need to go into the assets fold the leg so have material and material instant selected. Then go all the way down until we get to the one we had selected previously. The ago. Silver basic. Let's go ahead and select them both. We're going to actually go ahead and get to asset actions. We're going to replace the reference, and we're going to select this one over here. We're going to consolidate. We're going to delete. And actually, we're going to do them multiple at once. So I think it'll be fast this way. We can go ahead and do silver treasure now. We can go ahead, right click. Asset actions replace and consolidate. So we're going to replace reference elect the larger one. R consolidate assets. There you go. Delete. Now we have silver treasure, and the straw is going to be transparent, so we're going to leave it as is far now. Water is going to be transparent wood is going to be needed to be replaced. So let's go ahead and select wood course. We're going to select both of them. We're going to replace reference, and we're going to select a larger one. Like so. You're going to go ahead and click the lead, and we're going to go ahead and get ourselves wood stylized plank. Right click, and we're going to, of course, replace the reference. Like this. Larger one, consolidate assets, and we're going to make sure that it is the right one. Let's go ahead and delete it. And now, finally, we got ourselves wood stylized. Let's go ahead and select both of them. Let's go ahead and replace reference. Select the style as plank, the larger one, delete, and the final one, plank light. Right click as a location, replace reference. Large one, like so, consolidate assets, delete and there you go. So now we have a bunch of red assets, a bunch of red objects, which is going to give us a really interesting look. Of course, this is not the way we want them to be set up. So in order for us to speed up the process, we're actually going to make use of the second content browser. So in order for us to do that, we're going to go onto the windows upper left hand corner. We're going to select windows. We're going to go on two. Content browser, so it's going to be the second one. We already have one enabled. We're now going to be enling the second one. Let's go ahead and select that. And actually we're just going to put this to the side. So we could see a little bit on what's going on and how it's being applied. So now we're going to go onto the assets, and we're going to start off with the silver basic. We're going to go onto the materials, textures. We're going to fight ourselves the silver basic, that's going to be the one. Going to go into it. We're going to open up the silver basic instance, that's going to be open up like this. Actually, I'm just going to scroll a little bit to the side, put it to the side like so, and we're going to start on applying all of these textures. We're going to now select the first one ambit declusion and of course, click this button, then base color, click this button, metallic course. Normals and roughness, and that's all it takes in order to get ourselves a really nice silver type of a look. I'm thinking that maybe we need to lower down the intensity or increase it for that matter, just a little bit. So I think that's going to be quite all right. I think it works much better in real engine if we just lower down the roughness values for the metal. Now we can go back onto our textures and move on to where to find it Silver Treasure instance. That's going to be silver Treasure The ago. We're going to open this up. We're going to open it up over here. Just make sure that this window is set. Since I wanted to make it more visible on what's being changed. I prefer to just put it to the side a little bit like so, so we could actually see what's happening. I don't really mind about this type of a material, what's happening here. So I'm just going to put it to the side like so. And now, of course, we need to change up the values. So we're going to select the amid occlusion. Put it here, then we need to select base color. Put it here, metallic, of course. Normal and roughness. Now we're going to get ourselves this super shiny type of a metal. I think that's going to be applied on the treasure, yeah, it's going to be on this plate over here. That's actually looking really shiny, really nice and quite like the way it turned out. Let's go ahead and keep it as it's actually quite like this overall result. Now we're going to move on to the straw instance is going to be left off. I'm actually going to close down this window, we're going to re open it as a wood course. Let's go ahead and open this one up. Of course, we need to find this within our second content browser. And we're going to go down until we go onto the wood course. Let's go ahead and open this up. And just like we did before, we're going to simply reapply all of these assets just like that. And finally, roughness value, just like so, and I'm going to check actually how this looks like. And I want to know if it's going to be enough in regards to the normal value. Since I do know that by default, this might be not looking quite as well if we don't have it enough. I'm actually going to go onto the normal intensity and increase this value by just a little bit like value of 1.5, I think that's going to look much nicer in regards to the roughness contrast, I think we should probably increase that as well. Just going to go and change that up buffer to roughness value. So we can see what's happening, change up the contrast there you go, and intensity a little bit So, so now it's going to hopefully, we're going to go to a lit mode. It's going to look much nicer. So I'm actually going to slightly increase intensity the value of 0.92. And yeah, I think that's looking quite nice in regards to that. Okay, so now that we adjusted it, like so, we can go ahead and close down this window. And it's going to be Wood stylized plank. Let's go ahead and open this up moving this window a little bit to the side and take the textures. That's going to be what's it called? It's going to be called wood styles plank. Wood styles plank, it's going to be also the bottom since it's also an alphabetical type of an order. Let's go ahead and get these selected. Let's just go through them real quick. And I think that's going to be this one over here or actually, this one over here. Let's go ahead and get them all done, normal values and everything like that, it's going to make such a huge difference. And it's already looking pretty nice, actually. So I think we can leave it as I quite like this way, the way it turned out, maybe we can lower down the color value. So I'm just going to go and open up color multiplier and just lower it down by a little bit and maybe make it more with a tint. I think that's going to be much better. So before, after it's going to, I think, look much better under the unreal engines conditions. And actually, maybe just take it off a little bit, put it more to the yellow, like so. So more towards a greenish tint. There you go. Yeah, I think that's looking much better actually. But I don't like the way the saturation is being applied since I darken it up. I'm actually just going to go into the base color itself, and the easiest way would be to just lower down the saturation for a year. I'm just going with this texture map opened up. I'm just going to lower down the saturation. Setting it to 0.5 might be a little bit too much 0.8 maybe 0.1, I'll try to lower it down by quite a bit. 0.7. I think 0.7 is the right value. Let's go ahead and keep this saturation as 0.7. That is definitely looking much better in regards to that. I'm just wondering about the glossiness. Since I'm looking at this plank over here, this would all four is sphere. Maybe it's a little bit too shiny, but in this situation on this torture device, it doesn't look quite as shiny. I think I'm going to leave it as is. And yeah, let's go ahead and leave it as is. All we're left to do is to set up the plank light. Let's go ahead and open this up. Going to move it to the side. Going to go onto textures, and I think that's going to be the last one. So what's it called? It's going to be stylized plank. So let's go ahead and that's not actually the last one, but let's go ahead and open this up and change this like so. Okay, so we're just going to go ahead and click each one of them just like that. And it's going to give us the right type of a result. So just like that, we're able to change it up. I think this one is a little bit too shiny, though, so let's go ahead and lower our increased roughness value by quite a bit like so. I think that's going to give us a really nice type of a result. And we can also lower down the normal intensity by a value of 0.8. I think that's going to give us a nicer type of a look. There you go. Yeah, there you go. That's much better. So this is a little bit more of a mover section for those type of shelves. I think that's much better looking. So yeah, that's all it takes in order for us to make use of this entire material. It's very basic set up, but when we're actually placing each of the items, we're able to quickly go in between them and see how they look like within our scene. And yeah, in the next lesson, we're actually going to start off by creating some of the more transparent materials. So thank you so much for watching, and I will be seeing you a bit. 134. Setting up Opacity Texturures and Fixing Nanite problems: Welcome back everyone to Blender and real engine, become a dungeon prop artist course. In the last lesson, we left it off by setting multiple materials at once within our props, and now we're going to continue working with materials and this time, we're actually going to set up some of those transparent materials to be applied onto our assets. So to start off, I think we can start by just applying some of that blood texture over here. I right now this type of a torture device is going to be a little bit plaining. They have a lot of white planes. Of course, we need to go ahead and fix that first. And so We already have material instances. So let's go ahead and right away just replace those first. We're going to select blood two, blood two instance. We're going to right click and we're going to go to asset actions, replace references, and of course, we're going to select the larger one. We're going to consolidate assets. We're going to click delete. Now we can do the second blood as well, the blood free one, and I'm just going to do exactly the same thing. Going to right click, replace references, and I'm going to, of course, create a reference replacement, just like that. Once we've done it, so, we're going to have this sort of a setup, and of course, we need to get ourselves a transparent material. But if we were to just apply a texture of blood, if we look into the textures and have a look at a blood texture, which is going to be. If we actually were to search for it, blood. We have blood all the necessary PBR materials as well as capacity. So let's go ahead and apply that right away. So for us to do that because by default, or if we were to go onto the material instance, it's going to click on it bottom right hand corner with this selected asset. And as you can see, we don't have any area for our capacity to be placed. What we're going to do is firstly, we're going to create ourselves a new material to be used for this type of material instance. Let's go ahead and do that first. We're going to actually go back onto our assets folder and actually we're going to go onto the material stab and we're going to just simply find ourselves to material that we had set up for the PPR. PPR material, we're going to right click and we're just going to duplicate it, or we can just click Control D, whichever one you prefer. And for this one, we can call it a PBR transparent material. And now, once we have it done, so we're going to double click on it to open it up, and of course, it's going to be the same exact type of a material. This time, however, we want to set it up as a transparent mode. So we're just going to actually maximize this material graph. Now, to change the properties of this material, we're going to select the material node itself, and the bottom left corner within its tail stabs, we're going to go into the material stab over here. We're going to open this up, and we're going to get ourselves the blend mode. So we're going to change this from opaque. We're going to actually this time make use out of the mask. There's also something called translucent, which gives you a partial transparency. But this time, we're going to make use out of a mask mainly because it's not as performance heavy, and at the same time, it also allows you to use all of the PBR textures right off the bat. So once we just change that, all it's going to do is just give you the opacity mask. If we were to have chosen the translucency, we would be getting ourselves in opacity. But we're going to go into that in the future. For now, though, let's focus ourselves with the blend mode set as mass. As for the blood textures, this is going to give us some nice results. So let's go ahead and make use out of that. So now that we're done with that, we're going to basically get all of the same type of values that we had previously plus. We need to now set up the opacity mask. So for us to do that, we're just going to hold t, and we're going to tap on a screen to get ourselves texture sample, which is pretty much the same as we had previously set up with the O ones by dragging the textures in. So now what we're going to do is just we're going to simply drag and drop this into opacity mask like so, which is going to give us an error because this texture sample is completely empty. So we've got to make sure we have something within it. And it doesn't matter what we have actually because we're going to be replacing that independently within the material instance. So for now, I'm just going to open up the texture within this detail stab with the texture sample selected, of course. We can probably search for opacity like so, and we can select any one of them since we are going to be changing that actually. I'm just going to select the wide one since that's going to give us the default kind of a mask for the entire texture, and we're just going to make sure that this is connected to opacity mask. And of course, we need to change this up to a parameter, so we'd be able to use within our material instance. So we're going to right click on this texture sample. We're going to convert this to a parameter, and we're going to call this one opacity, like so. And now we can finally click control and S to save it out to apply this material to just apply all of its shaders. We can now close this down and we're going to get ourselves a nice transparency for it. With it, I'm actually just going to select this torturing device over here because I know that it has some blood elements within it, and we're going to start off with the blood two instance since we already changed that up. We're now going to open up, open this blood two instance. And what we're going to do is We're simply going to change up its parents. I'm actually just going to make this window smaller like so, and we're just going to locate it within a a browser, the PVR transparency mat. We're going to scroll down within the material instance like so, and we're going to simply drag this and drop it into the PVR transparency like so. Just by doing that, we're going to get ourselves an extra channel to work with extra parameter that's going to be called opacity. If we were to enable that, we're going to get ourselves this, and we're having these issues. So now we can replace it, and we're just going to replace all the textures. So what we're going to do is actually, we're just going to go into the textures into the dungeon additional blood textures, and this is going to be blood to instance so of course, we need to use zero two blood. This one over here, and we're just going to right away, replace all of them. Some of the textures, the ambit occlusion, for example, we don't have that, but we just need to make sure that the default one was set as just pure white. Since some of the textures, like for example, for the fabric of the flag, it would have just a simple white type of a texture. So in order to avoid any of the complications, let's make sure that this is set as white, and we're going to leave it as is. Then as for the blood for the color, we're going to select the color, we're going to replace the base color. Then metallic blood is slightly metallic, so of course, we need to add some metallic information. To give it a proper gloss of a liquid, then we're going to also change up the normal, a little bit, and the opacity is going to be changed over here. And then we're going to get this result, which is already looking pretty nice. Then finally, we're going to change up the roughness value. So this one over here, and that's all it takes. Now we can click control on S, and actually we're getting this sort of an issue. So after pausing the lesson, trying to check and figure out what's happening with it, I realized that the actual issue for why this is happening is because Nana doesn't actually quite support the transparency just yet. So we've got to make sure we fix that up. So for us to do that, we're actually going to just locate this asset. I'm just going to close this down, and we're going to locate this asset within our content browser, so I'm just going to go all the way up to our static mesh within a content browser actually, easier way would be if we were to click on this asset, what we can do is we can select browse to act, which will give us right away onto the location of our contra browser. Now what we can do is just click and we can get ourselves to init option. So with this, is going to disable it because as you remember, by default, we had this enabled for all of our assets, and now if we were to disable it, because this asset is using transparency materials. Now it's going to give us the right type of a result for this type of our blood, which is going to be much much nicer. Of course, we're not quite done just yet because we still have the second material to replace. Let's go ahead and right away do that. We're going to have this asset selected. We're going to scroll down, and we're going to find ourselves to blood free instance. We're just going to search it within a content browser like so. And now with this, we're going to, of course, open it up, and we're going to scroll down within this. And instead of just looking it through the codon browser, I'm actually going to click on this square over here, and I'm going to search for PBR transparency. So this one over here. The one that we created. We're going to select it. Of course, we're going to get ourselves capacity mask like so, and we're going to take it. We're going to make sure that we have all the textures set up. We're going to go into the blood textures, and this is going to be blood free. Let's go into it and now we're going to just simply select the blood color, apply this here, metallic, apply. Normal opacity. So and finally roughness. And there you have it. Now we have ourselves a freely nice type of a set up. But the offset of these colors are a little bit different in comparison. One is a bit more of a dried up blood, and the other one is more of a fresh blood. So we're going to be fixing it up and make sure that it looks more consistent in regards to our setup. So just by looking at it, just by seeing it from different reflections, we need to fix up the reflection for the first one and actually lower down the volume of its brightness. I think we should do that actually. Let's go ahead and do that. So for us to get ourselves the sample, the parameters, we're going to make sure that we go into the blood too. We're going to open this up, and we're just going to adjust these real quick. So we're going to go into the material instance, like so, and we're going to be, of course, changing up the color multiplier, just lowering down just a little bit just like that. And we're going to change the roughness value because it's a little bit too glossy right now, we're going to be needed to change that. So we're going to go into roughness, not contrast roughness intensity, and we're going to increase it by quite a bit. Leaving it to a value of free, I think that's going to give a much nicer result. And I think because of it, we also need to lower down the brightness a little bit as well. Just like that. That's going to give us a really nice sort of a result for the blood. It still has that variation of blood freshness. So the one still looks a little bit more dried out, which is actually perfect because it's going to look like it's been used multiple times throughout this entire section. So I think that's going to look quite nice. Anyway. You can leave it for now. Let's go ahead and close this down. And yeah, we're going to have ourselves a really nice type of blood for this area. Okay. And I think there was other places that was using some blood as well. But we're actually going to set them up manually for the over torture devices using decals. But that's going to be afterwards, before that, though, I'd like us to set up this helmet nicely, so we're going to do that first. So thank you so much for watching and I will be seeing you soon. 135. Setting up Two Sided Transparency: Now, welcome back in front to Blender and the real engine, become a dungeon proper hard discourse. In the last lesson, we left it off by setting up the nice blood within our torture devices. And of course, we need to continue on working with the rest of the material. So this time, we're going to work on the helmet and make sure we have a nice feathers, and of course, the capacity is set up properly, so we're going to do just that. So for us to do that, of course, we're going to make use out of the BBR transparency. But this time, we need to consider something else, and that is going to be the two sided texture because right now, by default, real engine will not make use out of that in order to save up on performance, it's only going to be rendering everything one faced, one sided. So for example, if I were to go into this type of ap what you'll notice is that from the inside there's nothing to be seen because all the normals are placed perfectly outside, that's why you have to in blender be fixing the orientation for them. But as for this feather, area. It's not going to have that because it's just a simple plane and it needs to be seen from both ends. Of course, we'll be fixing that now. In order for us to do that, we're actually going to get ourselves a new PVR material, so we're going to select this. We're going to click Control D to make a duplicate out of it. We're going to call this PVR and transparent. Two sided, like so we can keep it as is. Now we're going to open this up. So let's go ahead and double click on it. Let's maximize this view, and we're going to now click on our material, so we could see it's detailed tab. And now, of course, we're going to be changing up the blend mode. Right now, we have ourselves on opaque. And before we used mask. This time, however, we're going to make use of translucency, because in order to get the right kind of a look for the favors, we need to set them up to look more transparent in certain areas. We're just going to make use of that. And if we open this up, we can see that a lot of the PBR channels are actually turned off now. We only get ourselves to base color and opacity values basically to use and a couple of over which are not relevant for us. And for some reason, we also have an ambient occlusion. But if we look at the feather texture so forward to actually go into the textures folder legs so and have a look at those, which should be under. We're to just look at it a little bit more, it's going to be dungeon feather helmet. So for to open this up, we can see that we have basically no value for the metallic. I'm actually just going to hold control and make them a little bit bigger. We have no metallic color information. We have no normal for them either. We have opacity and base color basically. So we don't really need to use anything other than that for this situation, actually. So we're just going to make sure we set them up properly, and that's going to be pretty much it. So actually, I'm just going to maximize and we're just going to make use out of this. And Now, though, I think we can just delete the roughness value completely. So we're just going to delete this and actually delete the normal value as well. We're going to delete this middle chunk right over here. We can leave the ambit occlusion just in case. But basically, all we need to make sure is that we have base color and actually metallic color as well. We don't need that. We have base color. We have some control for it, and now we're going to set up capacity. So we're going to hold T. We're going to tap on a screen. We're going to make sure that this texture sample is set as a opacity. So we can make use of a wide texture. We're going to be replacing that in our material instance, anyway, and I'm just going to click convert this to our parameter and call this one an opacity. We can now connect this RGB to opacity just like that. Now, I'm going to go back into the material because we still haven't set up the two sided material, and that's actually rather easy. A simple thing to do. All we got to do is just within the material tab is enable two sided material. So this one over here, we're going to select that and it's going to give us a much nicer result. So now we're going to click Control and S to save it out. And of course, we're going to be adjusting it for the feathered material. And now, once we're done with that, I think we can actually just go back onto our assets. We're going to enable. Actually, I'm just going to hold control, make the icons look a little bit smaller like so by scrolling in, just like that. Okay. So now I'm going to get material material instance, going to locate the helmet, which was, if I was go helmet feather instance. We're going to make sure that these two are basically properly set up. So we're going to select the material and material instance for the feathers. We're going to replace references, and we're going to select the larger one. So consolidate assets, delete the original one and there you go. Of course, we haven't set up the textures yet. We need to double click on this material instance, and we're going to simply go into our texture folder just like we did before. And actually, we're going to turn off these two material and material instance filters. I've got to make sure that we see what we're doing with them. Now we're going to find ourselves which was going to scroll through it, Father helmet, there you go. We're going to go into it. And all we've got to do is just replace basic color capacity since none of the other ones are being used and actually forgot to take off the parent. We need to change that up to be using transparency. So we're going to click on this. We're going to locate PBR transparent two sided. Like so. Now we have lesser options. I was wondering why we have so many optis but now we have less. Okay. We're going to enable opacity, and we're just going to replace base color with this. We're going to, sorry, that's ambit occlusion. I'm actually going to undo it, and I'm going to make use of this ambit occlusion, like so, make use out of default base color. So. And finally, opacity, we need to set that up as well. Once we're done with that, we can click Control and S to save it. And this will give us the proper result, but not just quite yet, because just like we had the problem with blood, of course, this is going to give us an issue in regards to the nyide we're going to select the helmet. We're going to right click browse to acid and we're going to locate it within here. We're now going to right click on it and disable anit. So just by doing that, we're going to get this sort of result, which by the way it looks a little bit too harsh. I think we need to increase the capacity. So we need to change that up real quick, which is actually rather easy to do. I think what we're going to do is make some additional parameters for this specific transparency. So we're going to go into the helmet instance, material instance for the feathers. We're going to open up the material setup, and we're going to actually just set up an intensity for this. So we're going to hold tap on the screen, hold S, tap on the screen, set up a parameter, call it opacity strength. By default, we're going to get this value as one. Now we're going to connect basically both the opacity and this valuulc we have more control over the opacity. Like so and put it into opacity, click control in as to save it out. Once it's done, saving it out, we can now go back into the helmet feather instance. I'm going to make this window smaller. I'm going to then basically play around with the value. Opacity strength. We're to start increasing, we're going to get this result, which is going to be much nicer, just wondering if it's actually a little bit too bright or not in regards to the color itself. And maybe we can just keep it as five. I'm actually also going to use color multiply just to lower this overall type of a color. I think it's going to be much nicer there you go. Yeah, that's all it takes in order for us to get a nicer type of a look. I'll go ahead and keep it as is. And yeah, I think that's going to be it for this lesson next one, we're going to continue working with transparency type of materials this time, we need to set up those gems to be used within unreal engine. So that's going to be in the next lesson though, so thank you so much for watching and I'll be seeing you soon. 136. Refractive Material with PBR Transparency: Hello and welcome back in front to Blender and a real engine, become a dungeon prop art discourse. In the last lesson, we left it off by setting up the helmet two sided material to be transparent. And in this lesson, we're going to continue working on transparency materials and this time set up some of those gems. So for us to do that, we're going to go into our original material. Let's go ahead and find that going to be within a folder of a year, and we're going to find or sell fold material that we had previously set up for the PBR material. Let's go ahead and make a duplicate out of it. Let's call this one PBR M mat. Like so. That's going to be right. Let's go ahead and open this up, and now we'll need to set ourselves up with some nice type of a M material look. So for us to do that, we're actually going to maximize this, and right away, we're going to get ourselves this opened up and clicked on material node. We're going to change this blend mode from opaque to translucent. And just like we had previously, is going to remove a bunch of our options. But this time, we're going to scroll all the way down on until we find the translucency, and we're going to change the lighting mode for it. So we're going to change it from volumetric non directional. We're going to change this too. Surface translucency volume. So by changing this, we're going to get all of our material information back, and we're going to be able to make use out of it, which of course is going to be a little bit more expensive in comparison to put it with it with the fetters. But this time is a little bit necessary because we do need a certain amount of metallic value for those gems. And of course, we're going to make use out of dpacity for it. We set ourselves up with a nice transparency type of a look. But I think what we can do if I was to just go and open up those gems, one of the gems. So D gem red if I were to check it. It's just going to be a plain color. So instead of just having it instead of that, we're going to have more control over it by simply making a basic flow parameter value. So we're going to do that. We're just going to hold S and tap on the screen. We're going to call this one opacity. And by default, we can go ahead and right away just set this up to be a value of 0.5. So we're going to have partially transparent material, which is exactly what we want for now. We're going to attach this two opacity, just like so, And yeah, there you go. We're going to have a much nicer result. But by default, it's just going to give us transparency. It's not going to give us anything else. And with gems, they have a certain amount of refraction, a certain amount of a look within them to give more depth to the entire type of a shape to highlight the shape itself, basically. So we need to set that up as well. And for us to do that, we're going to make use of the refraction value over here. So let's go ahead and right away set that up. So the way a real engine is set up is that we can't just make use of a simple value. We're going to make sure that we set ourselves up a fresnel type of a functionality. So for us to do that, we're going to right click. We're going to search for fresnel, like so. So within the utility, we're going to search for fresnel, this one over here, and we're going to connect this as an Alpha for alert value. So we can search for linear interpolation or we can hold L and tap on the screen to get this, and we're going to attach this to an Alpha just like that. Then what we want is we want to set up the first value of RP to be just one, so it gives us a neutral type of refractions. We're going to hold one this time, and we're going to tap on the screen this way. We'll get ourselves a nice float value. That's not a parameter. So we're just going to attach this to A, and we're going to change this value to one. So we're not going to be able to change this material instance value. But that's actually better for us because We don't want to unnecessarily cluster up our entire material instance with unnecessary things. We don't need to change this, so we can leave it as is. Then the next one, we're going to set up IO R value index of refraction, that is, which is going to be. If we were to hold S, we're going to tap on the screen, we can call this one IOR so, and we're going to attach this to a B value. And here's the thing with the value. By default, we can leave this as one. But basically, depending on the material that we're setting up, we're going to have a different type of a value for this type of a parameter. So for now, we're just going to click control and S and save this up. And actually, since it is mainly going to be used for GM, we might as well just set this one up right away. So we're going to use a value of 2.42, which is a value of a diamond refraction, actually. So that's going to be perfect for our value. But basically, recommended values of these are for air. It's going to be one for water. It's going to be 1.3 free for ice is going to be 1.31. For glass is going to be 1.52, and for diamond is going to be 2.42, which is exactly what we're using. We can change this up later though, so that's going to be fine. But by default, I think that's going to be the value that would be best suited for us, which is going to give us a really nice type of a look. So now we can close this down, we can, of course, save this material, and now we need to just make sure we reuse it within or gem. So we're going to actually go into our assets. We're going to make sure that the material and material instance is selected. We're going to find ourselves the one that we created, which is going to be PVR m material this one over year. And I think. Yeah, I think we already had a gem material. So let's go ahead and just shot replace them first. So gem blue gem red, gem white and gem yellow. We're actually just going to do them all. So let's go ahead and do that right away. We're going to select blue one. We're going to change the references. Get ourselves to larger one. We're going to delete original. We're going to change the red. Actually blue. Let's make sure that we select them properly, though. We're going to change this up to replace references for red. There you go, delete. We're going to then change up the white. Like so asset actions, replace references. Change uplite and finally yellow. Final one, replace references, and there you go. Like so. And I think it's actually going to give us the same type of a problem that we had previously in regards to the refraction. But for now though, let's go ahead and try it out, and we'll come back to changing up the Nitite in the future, maybe. So we're going to start off with a blue type of a material. We're going to go into or actually. What I'm going to do is, I'm just going to double click on each and every single one of them, all four gems. So this way, within this window, we're going to have multiple tabs that we can just go through and change up right away. So that's going to actually be much nicer in my opinion. We can now scroll up And before doing that, though, before changing materials, let's actually within the material instances, let's change the parent material. So we're going to just click on this. We're going to change the SPVR material, like so, and we're actually just going to do it for every single one of them just like that. And we're just going to change one by one. And actually, we're just going to check how the um the gums aren't looking quite as well. So I think right away, I'm going to change them to look nicer. I'm just going to go to browse assets, and we're going to change them to be not nite basically, whenever we can we are using Nite, but these props aren't as topology heavy, so it's actually quite a right if we weren't using them on a lot of them, so it's going to be quite okay. So I'm just selecting the diamond, p Ruby, and there should be one more actually. I think that's going to be for necklace as well, so I'm actually going to find a necklace this one over here. I can see the grade out one, so it's actually quite, quite easy to find. So that's actually going to be I believe it. We are also going to select the chest open chest. That's going to be fixed, needed to be fixed. It's going to scroll through each and every single one of them. Basically, we're to just put this to the side. We're going to have ourselves chest treasure diamond necklace opal and Ruby. I think that is going to be quite right. It should be. We can always come back to it anyways. So let's go ahead and just right click with all of them selected while holding control, and now we're going to go to Night and disable and this should disable Night for every single one of them, and it's going to give us a lovely type of refraction values for each and every single one of them. So that's already looking quite nice. Just making sure that every single one of them is properly set up. I think that's going to be quite right. Yeah. Okay. So now, we're actually going to start up texturing them because they're just too transparent and whatnot. So we're going to go all the way up to our materials, to our textures, and we're going to find ourselves, which would be dungeon gem. There you go. We're going to start off with dugonm blue. I'm going to actually make this window that had set stood aside a little bit more for our material, like so, and I'm going to make it smaller a little bit. Changing up the layout just a little bit so we could see a little bit better. Okay. So now we're going to start off by changing up the em blue instance. And I actually lost the gems again ago, m blue, going to open this up. I'm going to basically start changing each one of them up. So we're going to start off by changing this up. I'm going to make this a little bit larger, put it a bit more to the side so we can see the buttons. There you go. So each and every single one of them. Just like that. Normal and finally roughness going to be here. I actually sorry about that. I totally forgot about the switching the opacity so it'd be changeable within our parameters. So we're going to go back into the material real quick. Oh, I just remember that it was set up as an opacity parameter instead, so we can just simply enable this one and change up the value a little bit depending on what kind of color we want. That's going to be these blue ones over here. We can change the value. And I think I might have a blue gem someplace else. I think that's going to be okay thou. We can leave it as 0.5 as a default value. I think that's going to be quite right. Maybe a little bit more it up to 0.8 for now. So to move on, we're going to now, sorry, that's going to be gem yellow, which is going to be this one over here. I was changing the wrong color. So a wrong opacity, sorry about that. We're going to go back onto the blue one, and now we're going to be able to change the value for opacity over here, and this will give us a much nicer result for this gem. So I think using a value of 0.85 is going to give us a really nice type of a look. Maybe it's a little bit too little actually 0.8. Maybe that'll be a little bit better 0.9 even. Here you go because they don't have to be super transparent just enough just to make them look really nice within our chest and whatnot. I think having this type of a value is going to be quite all right. Yeah, let's go ahead and keep it as is. Now we got ourselves the ones to go through. Let's go ahead and go into the ones, but we actually right out of time, so we're going to continue on with this in the next lesson. Thank you so much for watching and we'll see in a bit. 137. Creating Full Material Color Control: Welcome back in front to Blender and Real engine become a Dungeon prop artist course. In the last lesson, we left it off by setting ourselves up a nice rehactive value within the material to be used for our gems. And in this lesson, we're going to continue basically to make use out of it and set ourselves up the rest of the gems over here. So we're going to do just that. So we finished off setting up the blue m and the red gem is now going to be these ones over here, the necklace, for example. So we're going to go actually into the content, search for the textures that we had. We're going to get ourselves to red gem. And of course, we're just going to start replacing each and every single one of them. So ambclusion replace base color, replace metallic replace. A normal replace and roughness value replace. Actually, as for the capacity, this is going to be a little bit too much, we're going to increase it by quite a large amount. I think a value 9.1 will do. 0.91 is going to give us actually going to need it a little bit more because it's such a red type of a ruby. I think that's going to be much better in regards to this. If it's going to be a little bit higher opacity. So this value is going to be just right. So now as for the, the one. So that's going to be M white. I'm act going to click Control and S to make sure that this material is saved within this window selected. Now as for the white one, we're going to go back onto textures, and we're going to change that up as well. So we're going to do just that. We're going to select ambit declusion, replace base color, replace metallic, replace normal replace, and roughness value replace. There you go. It's going to give us this result, which, of course, we need to increase capacity, so we'd lower this translucency for it. And it's going to be quite all right. 0.96 is going to give us a really nice type of a look actually looking from different angles. And we might want to lower it to 0.95 actually. Just a little bit. I think that's going to give us a much nicer type of a result. So yeah, within this area, it's going to make it look like this. So that's going to be quite nice. I just want to check the yellow one. So we need to finish up with the yellow one, so we're going to go into it. We're going to search for its textut that's going to be yellow. We're going to replace every single one of them again. So we're going to start replacing him just like that. And this one can be quite low in transparency as well, so pink going to use more of a high value for it. 95 96, maybe a little bit lower. That's going to give us a really nice look. So 0.93. That's going to 0.93, that's going to give us the right kind of a look. So it all depends on a type of a color that we're having the type of a gem that would want to have a different type of result. So I think that's going to look quite nice. But I think the blue gem We haven't talked a lot about in depth of refraction value, the one that we set up over here. So let's go ahead and do that. We're going to actually go into the blue gem because I think that's a little bit too refractive for such a capacity of this gem. So we're going to be fixing that up actually real quick. So basically, if we were to enable this and play around with the value, we can see the type of a result that we're getting. So As I said previously, when creating this material is going to be one and diamond is going to be a value of 2.42, but basically, the more you increase it, the more of a refraction you're going to get. So playing between those two values, I think it's going to give us the right type of a result. And I think we're going to actually lower this down to a value of Two. I think like setting it up to two and actually increasing the page just a little bit 0.92, that's going to make it look much nicer in regards to this type of GM. I think that's going to look definitely nicer in regards to that. So yeah, I think that's going to be it in regards to the gems. And let's go ahead and close this down, and it should automatically apply the material instance parameters. If not, just click, to make sure it saves up if a window gets prompted up. But let's go into our asset materials. And let's see which ones we still haven't changed up yet because now if we were to go onto assets, we can see all the materials that haven't been deleted because the material instances created are actually within this folder over here. So we still got book covers book covers alternative, which is actually going to be more or less the same, and then we got book pages, charcoal, which we'll need to set up with a missive texture map. Then we got sorts. Those are going to be decals. So we still need to set up decals actually we're going to leave that part of next lesson. But for now though, let's go ahead and fix up book covers and book pages. We're going to actually get ourselves a material instance actually, I forgot to set up material instances for them, so let's quickly change that up. I'm actually just going to turn on material material instance and see if I have them. Yep, I totally forgot about the book covers actually. Let's straightway get that fixed. We're going to just quickly I think we can duplicate out of any one of those materials and just change up the names. Let's go ahead and get book pages and make a duplicate a couple of times or just one because book covers and book covers alternative, we're going to basically keep the same and then get ourselves just a slight variation out of them. So we're going to click control C control and going to also make a copy out of the book covers name. Going to go all the way down because the copied materials, they always go the duplicated ones, they always go downwards at the very bottom, and then later on, they get changed up. So I'm actually going to call this book covers underscore inst so, like we always do. Now we're going to just change it up with the book covers. So let's go ahead and do that. Let's select book covers, book covers instance, asset actions, replace references, and we're going to select a larger one like so, delete, and now we're going to do the same for the book pages. So Asset actions, replace reference, And we're going to select this one over here late. Just like that. Of course, we need to set them up because right now, if we were to look at the books, they're actually completely red. That's not what we want. So let's go ahead and fix that right away. Book covers. Let's start up with that. We're going to go into the content. We're going to actually take off these filters, go into the textures like so. And now we're going to search for. This is going to be book covers, so we need to get those out of the wave. Dg additional book covers, there you go. That's a nice atlas to use. Let's go ahead and go for every single one of them, like so. And just like that, we're able to quickly apply ourselves a really nice type of a look. And of course, we need to do the same for them if I were to click on the book, actually, close this material instance down, so we could go ahead and open up the book pages. So because every single book of them, every single book will have those materials for the book pages. Let's go ahead and open this up for a material instance that we replaced. Then we're going to find book pages over here. So that's going to be Dungeon pages. I'm going to scroll. There you go. Dungeon texture book side paper. Let's go ahead and open this up and start replacing every single one of those bits. Just like that. Mm hmm. Mm hmm. Normal. Forget to change the normal. We don't have pacity. Let's go ahead and get the roughness value out as well. And that's the type of result that we're going to get. So I think we should also a little bit darken this up. I think that's going to be a bit nicer. So we're going to actually take this on and just slightly darken them up. There you go. I think that's going to look nicer. But now, in regards to the books themselves, we're going to be getting yourself some alternations of them as well. So for us to do that, what we're simply going to do is just going to get ourselves the book covers instance. We're going to go into its location. We're going to make a duplicate out of it. And I think that's enough for alternation book covers alternate, if I were to select both of them, right click and as a location, replace references, have this longer one like so, and there you go. Going to look much better. I'm not sure where it was used. I think it's within these ones. But I might be wrong. Actually, I'm just going to right click and go to reference viewer, just see which ones are being used. It doesn't seem like it was being used at all. But we're going to set them up anyway, just so we could have more variations out of these books. So for us to do that, I think we should get a little bit more control out of this material instance, since right now if we were to open this up. For the color. We only have color multiplier. So we can make it darker, but we can never make it brighter and we can never adjust the saturation. So I'd like ideally for us to have a nice material instance that we can adjust the color if we so desire and make it lighter, make the saturation different. So let's go ahead and do that actually. We're going to go into the PBR material. We're going to open this up, and we're going to set ourselves a one more adjustment detail for the base color. So right now, we can have a color multiplier. So then we're also going to add saturation if we were to search for saturation, like so. This is going to be I believe it saturate. Sorry, that's not it. We're going to search for saturate and color desaturation, there you go. After connecting it from multiply to desaturation, fraction, we're just going to set up ourselves in nice parameters. We're going to hold S. We're going to tap on a screen, and we're going to call this desaturation. So we can just attach this to over here. And if we were to right click, we can see the type of a result we're going to get. So this is after desaturation, and this is going to be before the saturation. Before the base color. Keep in mind, it's only the base color, so it's going to be a bit brighter. In comparison since we're not applying the rest of the stuff. We're going to just preview it like this. But yeah, by just previewing it, we can see the direct results that we're going to get. So yeah, having it as one, and now if we were to change from zero, sorry to one, we can see that it's going to turn complete black and white. We can also turn this to negative to increase the color amount, so that's also quite nice. But yeah, let's keep it at zero since our materials are going to be using this as well. And now, other than saturation, I'd like us to get ourselves a nice contrast as well so we can have more control over entire contrast of the texture. So we're going to also right click. We're going to search for contrast, and we're going to use a cheap contrast RGB. We've got to make sure that we're using RGB because the color variations wouldn't work. We're going to put this in. We're going to hold S. Tap on the screen. We're going to hold this contrast, like so we're going to put this to a value, and we're going to have this, I think by default is one. I think by default is set to one, I'm just going to preview it real quick just to see how this would look like. And it's actually not giving us any type of results. I'm just wondering why that is the case. And it looks like because the original value was set to one, we're going to get a complete black value. But if we were to set it 20.1, for example, we can see that we're actually this is a really, really subtle type of an option, but we're going to keep it as a zero. So we could have control from the material instance itself. And finally, in order to brighten up this entire value, we're going to hold, we're going to tap on the screen, we're going to hold S, and we're going to call this color multiplier. What this will do is just, it'll multiply the color. Just make sure that we get a brightness value out of it for the control. So now if I was to right click start Previ mode, and if I was to increase this value to something like five, you can see that it brightens up in the entire color. So instead of what we had with the color multiplier, where it just multiplies and lowers down the value, we can use color multiplier. To kind of multiply this overall value, and I think that's going to give us a much, much easier way to work with this material. So now we can click Control and S to save it out. Of course, it's going to be applying onto the rest of our assets as well, which, by default, should be quite alright. Now if we were to check just to make sure, that's going to look quite alright. Okay. So as for the books, if I were to make a duplicate out of them, like so, and now if I was to close this down and use the book cover instance, which we can make use out of by simply dragging Of course, we need to have this book selected a duplicate one. We're going to drag this into book covers like so. This is a different variation. We can open this up, and now we can change up the way these color values work. We can make this, for example, more of a red, more of a yellow or green even type of color. We can make this look way brighter by going into the color multiplier, increasing this value by quite a bit. We can lower this contrast and make it look not as harsh, like so, or increase it even. So we have a lot of control on how these are being set up basically. And you can just lower down the saturation. Actually, I think I'll just do this. Keep in mind that while when controlling this, we're not actually changing up the book value itself. If we're to drag it from our content browser, we're going to still have the same type of a book with the original default material. But we're going to be fixing that later on, we're going to be setting up some blueprints and I'm going to show you how to get multiple variations out of the same textures out of the same props. That's going to be in other lessons. We still got ourselves multiple transparent materials to work through, so we're going to do that in the next lesson. And then we're going to learn how to set up some details. So thank you so much for watching, and I'll be seeing you in the next lesson. 138. Setting up PBR Decal Blood: He on welcome back in front of blender and real engine, become a dugon prop artist course. In the last lesson, we left it off by setting up some nice variations for our books. And this time, we're going to continue working with it with our props and set ourselves some nice decals. But actually, before doing that, I just realized that we don't have the scroll as well as the stamp set up properly. So let's go ahead and fix that first. So for the scrolls, for these ones over here, for the decals, we're going to go into here. And we're going to find ourselves the script that we had set up. So I'm actually just going to go into assets, going to enable both material and material instances and see which one that is. So that's going to be this one over here. I'm going to select DCL for material and material instance and replace references, make the larger one to be consolidated, let the one, and now we're going to be setting it up as a nice transparent type of a decal. Now, we also need to set up ourselves to disable the inits. I'm just going to right click, going to browse the asset, and we're going to just right click on a disabled Nite. And I think we're going to do the same thing for both of the scrolls as well, since we're going to be doing them. So let's go ahead and just find them within our list. Disabled nit for both of them like so. Just like that. And of course, now we can set up ourselves nice transparency materials for them. So firstly, let's go ahead and select the scroll within its material stab within its detail stab. We're going to open up the writing detail writing instance. And with this open, we're going to search for A. It's going to be PBR transparency or sorry, that's going to be PBR transparent Mt. There you go. Let's go ahead and get this on, and now we need to turn on opacity. And of course, we're going to go all the way to the top onto our materials, textures folder and find ourselves the right type of details. I think that's going to be underneath ornaments. If I'm not mistaken, no, that's not going to be it. It's going to be scroll detail, actually. So let's go ahead and open that up. It's going to have a stamp and text, we'll want the stamp. We'll want the text story, and we'll just go through each and every single one of them to change it up. So just like that. Which just clicking for each one of them, making sure that capacity is set proper and the roughness value and there we have it. It's actually going to be showing up as empty. I'm not sure why that is though. I'm trying to think of the reason why. I'll try saving this up and see what is up with that. By resetting it to a default state and that seems to be showing up at the capacity value seems to be quite low. And I think it's because it's not giving us the right result due to the fact that the scripture, the writing is actually a little bit low on opacity. So I'm actually going to increase it within the texture itself, is going to double click on this. I'm just going to increase this brightness and this should to increase it there you go. Now, it starts popping up like so. Now it's going to give us the right type of a look. There you go. Okay, so that's going to be much better. But it's still giving us an orange type of a look. So why is that the case because within the base color, even if this is a type of a scripture has a bit of a purple tint. It should give us a bit of a darker tone, but that's all right, though, because we can go down now and turn down the brightness for this. It's actually quite right that we have a bit of a tint because we can have more control over this variation. We can change up the hue as well for it. Sample to something more of a brownish tint here you go and play around with this and because we have color information, we can actually get some really really nice results. And I think it's a little bit too shiny in regards for the real engine, so I think we can also lower this down or actually increase the roughness. So let's double click on this, and let's increase the brightness for this by quite a little bit. It's going to be quite right. Yeah. There you go. I think that's much better in regards to that. So let's go ahead and keep it as is. We can now close this down. And of course, we're going to fix up the stamps as well. So let's go ahead and do that. We're going to locate the stamp. I'm actually just going to select this scroll, click on Browse to detail stamp content browser, there you go. I'm going to actually get myself material material instances like so. So now we can have both of them at once, going to select both the material and material instance, select replace references, get it the higher one like we always do. There you go. Now we just need to change up the textures. Let's go ahead and do that. I'm going to texture folder. We're going to additional scroll detail, and we're going to get ourselves the stamp. Now we're going to go into the stamp itself, like so, and we're going to start, of course, changing up every single one of these textures just like that. And finally, opacity pacity is going to be forgot to change up the parent. Let's go ahead and do that real quick. So we're going to search for a PBR transparent underscore material. This one over here. Now, we ourselves the capacity should keep the rest of the parameters to because they are exactly the same. So all we got to do is just make sure we have opacity and finally roughness values in as well. Let's check the reflection. I'm actually just going to move the sun a little bit just to see how this looks like within different lighting setup, and I think it might be a little bit too shiny in regards to that. Actually, it's quite right. It's a wax stamp anyway. So we just need to darken it up a little bit, so I'm actually going to open up the base color and change up this brightness, like so. And that's going to give us a much nicer type of a color. Lower down saturation a little bit. He here you go. That's actually a really nice looking type, and it's going to fit in with these edges as well. Let's go ahead and close this down. And now, once we have it like so, We can finally move onto setting up proper decals blood and gore and whatnot, for our torture device. So let's go ahead and do that actually right away. We already spent some time setting up some of those scroll stamps, but we still got some time to set decals. It's actually super simple and easy way to do. So we're going to go onto our material stamp going to make a duplicate of what we had before for the PVR material. We're going to click Control D to make a duplicate. And this time, we're going to call this decal material. I'm just going to make sure I don't have caps on Cal mat or actually underscore Mt. I think that's going to be a bit better in naming wise. So now we can double click on it, and just like we did previously, with our other ones, we're going to select our material. We're going to change the blend mode from opaque to translucent. And we already learned about how to enable these PBR texture maps in regards to shading in regards to lighting mode being changed from lymetric to translucency, but we're not going to do that now. We're actually just going to keep it as is. And instead of changing it like that to enable those PPR values, because we're using these as decals, we can have a little bit different approach, and that is going to be in regards to the material domain. If we were to change this material domain from being surface to change to deferred, decal. That's going to enable all of our PBR textures and look at the way the material behaves. It's being applied onto our static mesh. That's the base. But if we were to move it onto the sky box, you can see that it's actually quite transparent. So that just shows how different the decal material is by itself. And actually, I think all we need to do is just set up opacity and that's going to be quite right, and opacity strength, probably. So let's go ahead and do that. We're going to hold t. We're going to tap on the screen. We're going to search for opacity for that one. Opacity. Like so. We're just going to pick whichever one because we're going to be changing that. So let's right click. We're going to convert this parameter, and we're going to call this opacity. Like so. And now, of course, we're going to set up a multiply value, so we're going to hold M. We're going to tap on the screen. We're going to hold S. We're going to tap on the screen. There you go. I'm just going to click F two. Rename it. So F two, rename it, call this one opacity multiplier. There you go. Now we can connect RGB and the opacity multiply on both of them. Set it up as an opacity, have this default value to be set as one, since that's what the default value would be, and we can finally click Control and S to save this out. So now we have it like so. We're actually going to be creating material instance out of them directly because we're going to be setting up our own custom instances for these blood textures. We're going to actually check how many textures for the blood we have. We have three of them. Let's go ahead and create all three of those material instances. I'm actually going to go into material like finally, decal material, there you go. Create material instance and let's make a copy out of it three times. Okay. Uh, two times that is. So we have free materials, and I'm going to hold control and tap on all three of them. Now, we want to move these ones into the same area for where we have the blood since that would be an easier way for us to navigate our decals. So what we're going to do is actually we're going to within a textures folder, we're going to within the left hand side, we have basically the entire location of our condo browser. So we're just going to navigate through here and then we'll be able to drop it in into our proper folder. So basically, within the content browser within this content, we're going to open this up. And actually, I just lost all of these selections because I clicked on not the arrow. I've clicked on the folder itself. So I'm actually just going to click back to go back and just find myself the blood once again. Where was it if I was to just go ahead and look through it? They go decal instances. So we're going to select all three of them like so. Now, we're going to click on these arrows basically to open up the folders. We're going to open up textures, and we're going to open up the blood textures like so. We're just going to click and hold then drag it into these dungeon additional blood textures. So we're going to move it here. And now, if we look at it, we're going to have three different materials material instances, now we can click F two. We can call this one blood one and blood two, blood three, and so on. And going to click up two blood free. Now we're going to change up the textures for each one of them. So let's double click on it. Have each one of them enabled because we didn't duplicate it from over by default actually ticked off. Let's not forget that. And now we're going to just simply switch up these textures. So just like that, we're going to be switching them up. And we're going to get ourselves a really nice type of a result. There you go. Okay. Now, we also need to set up the ones, the free. So let's go ahead and close this down, get into blood O two. Actually, I'm going to go back and back again onto blood O two material instance and quickly set these ones up. Blood O two is going to be this one over here. We're going to have all of these enabled, like so. And we're going to just replace the base color metallic. Direct X, normal, city and roughness and closes down. And finally, one more left. There you go. Get them all enabled. We're going to I clicked on the wrong one, so I'm just going to reset it to default one, make sure that the base color metallic normal capacity and roughness values are done just like that. Yeah, that's all it takes for us to set up a nice material instance for the decals. Now, the next lesson, we're actually going to learn how to make use of of these decals and how to set them up within our world within our props. So we're going to do that in a bit. So thank you so much for watching and I'll be seeing you soon. 139. Setting up Blueprints with Decals: Welcome back in front to Blender and then real engine, become a dungeon prop artist course. In the last lesson, we set a set us up with some nice decals to be used for the blood for the torture areas. So now we're actually going to make use out of them and set them up nicely with our props. So to start off, we're actually going to learn how to make use of them within the scene. And that's actually really simple and easy thing to do, since we already have them set up as materials normally. If you were to click and hold and drag it onto an acid, it will try to reapply material. But because these are set up as decal, type of materials. What we can do now is just simply click and hold and then drag it into our world, and it's going to give us this sort of result. Now, if you're not seeing a box within your view within your viewport, you can click G to enable to turn off the game view, and that'll show you all the necessary icons to see what is going on. And basically, It's going to give us a nice box projection and it'll make use out of this entire section to kind of project everything within this material detail onto our world. So as you can see, it starts off relatively simple, and I'm actually just going to turn off the grid movement, so I could move it slowly and show you how it actually gets applied. And basically, it just applies firstly onto projection, then it passes through everything and kind of gets all the information of this texture underneath as well. But further away you are from the projection box, basically, the less of opacity it gets applied, and that's Basically, all we need to know in order to set up some really nice basic type of details using decals. Something worth considering, though, is that we can't over use them. We can't do too much. I recommend you doing it like one or two decals per large prop. Otherwise, it'll be quite a performance heavy task for your own real engine, and we don't want this to happen. So just make sure to keep a low count in regards to how much you use this type of a decal method. So that's why it's actually preferable if we are setting up decals to do it in this kind of way where we actually have some planes that we just apply some materials on top of them and use a cutout get the shape out of them. But yeah, going back to decals, in order to set it up, actually, by just moving it around, we can see the arrow which it is using in order to project. And if we were to rotate this, for example, sideways, we can see what it does, and that's another downside of using decal is that if we were to want to do it on the side of this, I'm just going to move the sun a little bit using control and L. To see what's going on a little bit more. If we were to move it to the side to get it on the poles. What we can see that everywhere else, it actually gets stretched out this entire blood decal because we are projecting it horizontally. So in order for those kind of issues to be avoided, I recommend you usually to just do it diagonally whenever you want to apply it both on the side view and on the horizontal and vertical kind of surfaces, basically. But again, even so we got to be careful because as you can see, there are some type of still kind of stretches going on over here. But we're going to go into it in a bit. Since we're actually now going to be setting up those details to be used within our props. And for us to do that, we're actually going to start learning how to make use of blueprints. And blueprints are basically kind of like prefabs, if we were to be using it within unity engine, for example. So they allow us to have multiple data and information within a single type of an asset, and we can just combine multiple things within it. So for now, I'm actually going to delete this decal from here. I'm actually just going to start combining this guillotine with some blood textures. So for us to do that, we're going to go into assets folder. So we're going to locate ourselves the guillotine or actually before locating the guillotine, we're actually going to right click, we're going to create ourselves a fresh empty blueprint class, and we're going to select actors. Since that's going to give us an empty blueprint, basically. And then we're going to call this same name basically as the guillotine. I think that's going to if I were to click on it. I'm just going to select it with an outliner. Click F two and then click Control C to just have this name copied. Then I'm going to go into the blueprint, and I'm just going to call this one blue print underscore and whatever the name was for the guillotine. But that's going to give us the right type of a result. Now, if we were to open it, we're going to see what it gives us and basically, it gives us a separate window to work with for our blueprint. If I were to extend this, we can talk a little bit about it. We have components, which will show you what we have within this blueprint. We also have things like construction and event graph, which allows us to do some coding within this blueprint. But what we want is we just want to make use out of the viewport itself. So this one over here, and this will allow us to just basically bring in all the necessary assets and place them within our world. So we're going to start off by actually just getting the guillotine in, and I'm actually going to make this window smaller and within the content browser, we're just going to find ourselves a if I were to look through it. There you go. We're going to get ourselves to guillotine, which is going to be this one over here. So we're just going to drag this and drop it into our area, like so, so we can see what is happening with this. We can maximize the window and we can see how this looks like now. So it's going to be placed exactly in the center of the world based on its origins. So that's going to be quite nice for us. So all we've got to do is just now apply decal, but we can't exactly drag it like we did with our level with the scene. So what we need actually, we need to locate the blood, and instead of just dragging it and dropping it, we'll need to I'm actually going to maximize this window for the blueprint. We need to click on add components. By adding a component, we're then going to search for decal. And we're going to add this little guy over here. By adding it, so we're going to get the same projection box that works in the same kind of manner, but I think it's actually going to be sideways for now. But first of all, we need to fix up the decal material. And we can search it so we can click on this box over here. We can search for blood, and we can get ourselves one of the blood textures that we got. But actually, yeah, I think it's because we created blood incense and blood decals. We should have thought about more about the naming actually. That's a little am. That's on my part. We should have had underscore decal on them, but that's actually okay. So now we're just going to select the blood free, for example, and we're going to get this sort of result. So now, what's nice about it is that we have the same controls as we had within our level where we can rotate this and whatnot. I don't think we can see decals icon, which is a little bit troublesome. So we need to make sure we rotated around and see how it looks like manually without seeing the arrow on which weight it's getting projected. So that's a little bit unfortunate, and I'm just going to move this downwards, gets a nice type of a setup, and I think, I'm just going to set it up like so. And if we want to have a smaller box, we can click R. We can scale this down like so, and it's just going to give us a smaller projection field. So now if we were to put it down like so, we're going to get this sort of results. What I recommend you doing is keep the entire box projection to as small of a value as possible. So I'm going to click R. And I'm actually just going to take off the snapping tool for the scaling, so I can have more control over the way this is getting scaled up, which doesn't seem to be working on why. Not sure. Now, it seems to be not using snapping. So I'm actually going to position it like so, and I'm just going to bring this a little bit more to the side. Just like that, I'm going to bring it down. And while doing this work, by the way, it's worth noting that it's actually going to be not only applying this type of decal onto your asset. It's also going to be applying the entire decal onto the rest of the world. So what I mean by that is if I were to just kind of squish it up and rotate this a little bit to the side, so that's going to be quite all right. So it's going to get basically this is going to be a nice blood because it's going to actually, we might want to put it closer to this edge, but I don't want to touch these because I don't want any type of distortions that we get from it like so. So we're going to have it like this. And it looks like it might be rotated wrong way. There you go. I'm just going to rotate this one 80 degrees, going to give us a much, much better type of result. There you go, something like that. We can squish it up just a little bit, and there you go. That's going to work quite all right. Okay, now we have it set up like this. The next step that I'd like us to do is basically check how it's going to look like within our role. I rotate it diagonally on purpose because if we're going to have a wall on the side, it's actually going to work out really nicely for us. Now once we're done it like so, I'm actually going to move it a little bit more to the side, just like this. There you go. Now that we're done with this, we're going to click Control and to save this, and we're going to close down the blueprint. Once we're done with that, we're going to go onto our assets, we're going to locate our blueprint class, and we're going to drag this into our world to see how it looks like. So as you can see, we have ourselves a gilttin the same as this, but we also have a blueprint of a decal attached to it. So what's nice about it, though, is that the decals they're going to be applied on multiple areas, not only the blueprints. So, for example, if I had a wall on the side, if I were to just add a cube, make this quite a bit larger, like so, What you notice is that we're getting this type of a blood coming right onto our wall. We might need to extend the projection because it gets cut off quite easily. So I'm actually going to go into blueprint class again, going to the viewport, select the decal, and I'm actually going to make this entire box of projection kind of wider, stretching it out in this direction like so. I think that's going to help us out quite a bit. Now I'm going to click Control and S. Closes down and now we can see that it actually gets applied nicely onto the edge of the wall. So just by doing it this kind of way, we get some really nice results in regards to how the decals are interacting with the rest of the world. But let's say that there are certain props that we don't want these decals to be applied onto. How do we fix it. How do we kind of remove the decals completely. And the way we do it is actually rather simple within an object within its detail tab, we're going to search for decal. And there is an option called receives decal. The downside of this option is that once we tick this off, it's going to take off all the decals being applied onto this, and that's going to include every single decal, basically. So once we have this ticked off, it's not going to allow us to get any type of decals on the wall on this object, particularly. So Yeah, we got to make sure we use it with risk. But I recommend you taking off decals, especially on smaller objects like candles, for example, or coins and whatnot. That will help to avoid all the stretchness, especially like on a gauntlet. It has multiple shapes and whatnot. Even if we position our decals to be in a specific way. It's still going to be stretching out the texture on the side. So if I were to show it As an example, So just real quick as an example. I'll just put this over here. Like so next to the blood area, just like that. And I'm going to rotate the sun. There you go. We can see that it easily gets distorted the blood over here. So we got to be very careful for when we're using it but even so it might sometimes look quite nice in regards to how the blood gets applied. So it all depends on the position, I suppose of these props and assets. But as the smaller assets go. I recommend you usually having them disabled for the decals. And, yeah, that's going to be it for this lesson. We're actually going to delete this one for now and delete this one over here. And actually just going to replace the original guillotine with this blueprint. And so in the next lesson, we're going to continue working. I think we're going to add some extra blood over on this area over here. And then we also need to set up ourselves with some decals over on the chest as well. I think this one is empty. But the ones that we had over here, we still have some issues on this one. So we're going to be working on how to set these ones up as well. So thank you so much for watching, and I'll be seeing you in a bit. M. 140. Setting up Transparency Mat with PBR Detail: Hello, and welcome back in front to Blender and real engine and become a Dungeon proper course. In the last lesson, we left it off by setting ourselves a very first blueprint that we're going to be using in regards to combining an asset and a Cal. And of course, we're going to be making use a lot of in regards to the blueprints. But for now, let's go ahead and just set up ourselves another one in regards to the decals for this area, as well. So we're just going to get ourselves a new blueprint within our asset location. We're going to create a new material for it. We're going to The material, a blueprint class. We're going to make an empty one, and of course, we're going to just select this torture device. We're going to click F two on our outline. We're going to click Control C. F two Control C, and there you go. Okay, now we're going to just rename this blueprint. Let's go ahead and select this blueprint over here. F two, call it blueprint. Underscore whichever the device name was. We're going to now open this up as an empty blueprint. Make this smaller like so. Put it on the side, and we're going to, of course, finds this device. So I think the easiest way would be to just click on it, browse asset, and now we got to selves within a browser, this device. We're going to drag it into the blueprint like so. And we're going to have it within this area over here. So now within this, we're going to open up and add a decal. D. Just like that, we're going to rotate the sideways like so, and of course, we're going to add blood. Blood, I think we can start off by zero free by having it zero free. Make it a much smaller, I think it's way too big original one. So just putting it like so. And it's probably too much blood on these areas of mine. Maybe it's quite all right actually. I think I'll just make it way thinner though in regards to the projection. So by just making it much thinner, we can put it down all the way like so, and this way, we can just ignore these type of chains. So it's going to be placed on the top. Then also in order to make a second decal, we're going to make a duplicate out of this. So let's go ahead and select this decal within our components list. We're going to click Control D, make a duplicate out of it. We're going to drag it to the side, and this way we'll have ourselves a second decal. And the thing for this one, we can make use out of blood two. So it's a little bit too right for us. I think we can lower this down, actually. We're going to access the blood itself, and we're going to just use column multiplier and lower it down. So I think by That's going to be. That's going to be color multiplier. I'm going to take this off and I'm just going to use the color multiplier that has color itself from the color figure. So by setting it to a value of 0.5, let's go ahead and see how this looks. That looks actually much better. In regards to the color we're going to keep it as is. Now we can close this down and we can replace our torture devices over here. Okay. We're going to find ourselves within this list. I think that's going to be at the very top dg. We're going to put it here. And also, because we're using such small details, we don't have to worry about as much in regards to how it's going to hit it next to the wall. Maybe we should have actually shortened them a little bit in regards to the entire projection. But all in all, I think that's going to be quite right, so let's go ahead and keep it as is. And then as for the next one. Well, we can now delete this type of torture area over here, and I'm just going to replace it, so just kind of slightly reposition our entire asset and keep them both just like that. And I'm going to put the chest actually next to the rest of the crates, just like that. Now we're going to have them nicely placed over here. We still have actually those couple of torture device over here, but I think I'm going to leave them just completely empty. Well, I do want to have some blood on this one over here actually, so I am going to make yet another blueprint for it. So real quick, we're just going to access it. I do want some blood at the very bottom as well. So it's going to be extra nice. So we're going to right click browse asset, we're going to find it over here. Before that, of course, need to create ourselves a blueprint, and we're going to get ourselves a new blueprint, like so going to get ourselves the name for this. Going to call this blueprint, underscore the name of this device. And we're going to open this up, going to make this smaller, to again, find this within the content browser. We're going to drag this in, and now we're going to get ourselves a quick decal. Let's go ahead and do that. And the decals blood is going to be this one over here. I quite like blood too I think I'm going to use it for this one as well. It's going to be quite nice.'s got to make sure it is set up properly in regards to the projection. There you go. I'm just going to make it a little bit sideways. And all in all, I think that is going to fit in quite nicely. So I'm just going to make it just a little bit bloody, so that's going to look really nice. And yeah, I think we might need to make it a little bit thinner in regards to this overall type of a form, and maybe a little bit smaller even there you go. Just by adjusting it a little bit, actually, that made it a little bit too thin, so I'm going to click r, and I'm going to extend this by quite a little bit. And that's going to give us some real nice results in regards to that. Maybe on the side. It's not going to look quite as nice, but it's because it's such a fin type of a platform. It's actually going to be quite right. Now we can click Control and S to save this and we can drag this blueprint. Into our world. So let's go ahead and do that. Now if we drag it, we can see that it's going to be positioned nicely into this area. But it's actually looking at it. I just realize it's not going to be applied completely onto the ground. So let's go ahead and quickly fix that. We're going to go back onto the blueprint onto its viewport. We're going to quickly select a detail, and we're just going to make this a little bit more extended now we can click control s and see how this looks like, and there you go, we have it looking much much nicer in regards to that. Maybe we need to be worry on regards to how we're going to have certain objects because they're going to be if they're in the front, they're going to be applied with same kind of blood. But yeah, it already is looking much much nicer in regards to that. I'm just going to delete the previous one. And I'm thinking I'm just going to keep this as is actually. Just going to check, make sure that there isn't any type of blood. Just going to hold control and L, rotate this, see how the blood on the other side looks like, and that's actually looking quite right. Let's go ahead and keep it as is. So now for the bits, we still have a couple of details that we need to complete. We talked a little bit in regards to the PBR decals and then being applied onto the gems. And now we're actually going to make use of them onto our planes on the flags themselves. So let's go ahead and quickly do that. I'm just going to go into the material stab and quickly check or original material. So we have material for the PBR normal material transparency, and that's going to be a cutout. I'm actually just going to rename this real quick. I'm going to click F two. I'm going to rename this from transparent to cutout, actually. It's going to be a little bit more clear to understand on what it is. Since this is using a apacity mask, not just on pacity And now we're actually going to set ourselves up with a proper transparency that's using a PBR material. So let's go ahead and do that and we'll be able to apply it onto our flag. So let's right click and actually we can just make a PBR material copy out of it. Let's go ahead and click Control. We can just right click actually create material instance and call this PBR transparency. Let's see Mt. Like so. Underscore Mt. Like so. Now we can go into it real quick and get it into, sorry, instead of making a material instance, instead of making a material, I made a material instance by accident. So let's go ahead and select the PBR material, click Control D and call this PBR underscore transparent. Undercoat. So now we can go into it to access the material settings, and we're going to select the material. We're going to change the blend mode to translucent. And in order to get the PBR values, we're going to change the lighting mode from mometric non directional to surface translucency. And there you go. Of course, we need opacity, so we're going to hold T. We're going to click on the screen. Right click, convert this to a parameter, call this opacity. And we're going to also probably make a strength for this opacity. So we're going to hold. We're going to hold S and tap on the screen both separate times, and then we're going to call this opacity multiplier, like so we can have this by default set as one. And we can just simply have both of these values in and into our opacity. Of course, we need to fix up the error. So we're going to quickly fix it up. We have it selected, so now we can scroll down to opacity texture, and we can just search for opacity. We can just select v one. It doesn't matter, but them. I'm just going to have it as white just in case. So now we can close it down, click. Yes. And there you have it. We have now to sell us a new material, which we're going to make use of in the next lesson. So thank you so much for watching, and I'll see in a bit. 141. Applying Transparent Sigils and Straw Onto Assets: All right. Welcome back to blender and then real engine become a dungeon prop art discourse. In the last lesson, we left it off by setting ourselves a really nice transparency material for the decals to be used for whatever we have some times that are a little bit more broken off, and we want them to be blended in nicely with our PBR values. So for us to make use of them, of course, we're going to set them up with the rest of the decals that we have with the textures. So we're actually just going to make some copies out of that. I just want to check how many material instances we have for them for the ones that have those type of sigels And right now, I'm just going to go over the material instances that we have. So Decal large. There you go, we have these decals over here, and just going to check. We have three of them. Charcoal. No, that's Charcoal, sorry, Decal cross swords, decal large. We already set up the stamp. We have wheat, and we also need to set up the cloth. Let's not forget that. And if I were to scroll down, that's going to be it. Just making sure that everything is set up nicely, basically. But yeah, it looks like that's going to be it in regards to the decals for the ones that we are applying on the flags as well on this box over here. So let's go ahead and fix that right away. I'm going to basically change those up and give them the proper transparency parent for the material. Let's go ahead and open these up. And I think I'm just going to open every single one of them, all three of those like so, and we'll start off by changing up the parent for it. So we're going to search for transparency, simple PVR transparent. I that's one. Let's go ahead and change that up. There you go. We're already getting a nice value out of that. And this one over here. I'm just going to double click on it just to make sure that we are using the same one, so it has translucency and it has surface translucency volume. Okay. So that is the one. And now we just want to make sure that we have every single one of them replaced just like that. So now we can actually make this window smaller, go into textures, take off the filters firstly, go into textures, and we're going to be changing them up. This one was cross sword instance. We're going to search for cross swords. Which is going to be if I were to scroll down. I think it's actually going to be under ornaments. Let's go up a little bit. And that's going to be ornaments. Here you go. Okay, so we have a couple of them, and let's go ahead and start changing them up. Cross sort is going to be I think that's going to be swords. Let's go ahead and change this up. So we're just going to get each one of them changed up. And just like that, We're going to get ourselves really nice kind of a set up. Opacity. Let's go ahead and make sure this is enabled, we it wouldn't work in. There you go. We're going to get this sort of a result, which doesn't seem to be used in these flags. So let's continue working on. This is going to be large sword. Let's go into a sword and let's change all of these values over here. So occlusion, base color, metallic, and all of them just like that. I'm just wondering if I have these change for these flags. I'm just going to click on one of the flags and see which metals they're using. I'm going to remove the search bar for these details over here and now see the type of details. So it is actually using cross swords. I'm not sure why it wasn't replaced, but we're going to check that in a second. Let's go ahead and firstly get all of them sort over here. And we still have wheat, which is going to be for this one over here, and that's clitching out a little bit, so we're going to fix that in a second. For now though, let's go ahead and simply change this up by getting a different texture they go, that's going to be wheat. We're going to get these ones on. Just like that one by one. Into the right places opacity and finally roughness just like that. So now should be applied, and I just realized that they are set up with nits, we need to change them up just like we did previously. So let's go ahead and browse them to the assets and just remove the nit because they don't quite work quite as well. So this one is still going to give us some issues. We're going to fix that in the bid. This one, however, we need to set up also as a non it, and this one as well. Disabled in it. There you go. All right. Let's have a look on why these don't actually work properly. I'm just going to drag this up a little bit. Since we can see that they do have some values of sorts. It's a little bit hard to see, but they are having certain values. So we need to figure out why this is not working properly. We're going to go into decal large and we're going to see why that is the case. It hasn't been replaced actually, so I'm not sure why that was I think I forgot to do that. I'm going to go into material and material instance and quickly go ahead and replace that. Today I go cross swords. These ones over here, we have them. They need to be replaced. Dc Dc large sword. Both of them match the names, replace references, wrap the larger one, and delete the previous one. There you go. All right. Now we're getting somewhere. We got ourselves a real nice decal. So let's continue on and replace the rest of them. So cross swords. That's going to be with the instance. Let's go ahead and replace these references. There you go, delete. And it's looking quite nice. And finally, the one on the box, which by disling it, it seems like it's stopped glitching out. Which is quite nice, actually. So let's go ahead and get ourselves to what, and I'm actually just going to browse it within this content browser like so and going to search for That's going to be the wheat. And we also had material instance. So let's just quickly enable material material instance. Wrap both of them like so go into asset, replace an asset and change it up. Just like T. And there you have it. We have ourselves a really nice set up. I'm just going to check up a set as well, Jason case, to make sure they're not too close by. And we still have some time. So let's go ahead and actually make use out of the same material for the straws on the bed. Let's go ahead and just have it selected so we can see where this material is. I'm just going to click on Browse to content browser. And I'm going to of course, use material material instance just to see that the material instance for it. So now we're just going to select both of them. We're going to right click Asset actions, replace reference. We're going to select the larger one, consolidate assets and have it deleted. There you go. We're going to open it up, change the parent to be transparent, which is going to be this one over here, PBR transparent, since it's also using some PBR values. And of course, we're going to disable material material instance. We're going to open up the textures, and we're going to find ourselves a straw to use. So let's go ahead and just quickly go through every single one of those folders and see which one is which. And that is going to be Dungeon straw. Let's go ahead and open this up. Let's have the occlusion. I'd like to check actually the way the occlusion is. This doesn't seem to be the right type of occlusion. I'd like to just check out looks like. And, it seems like I made a quick mistake in regards to the occlusion. Let me just go ahead and fix that real quick. So I just realized that there was a bit of a mistake in occlusion, but that's okay. I'm just going to report it. I had that fixed just now. So if I were to just fix that up, it should give us the right type of a result. So yeah, we basically I had it mixed up with the base color of the mb eclusion but that's okay. I just had to reimport it just now to fix it. So I'm just going to grab this m eclusion and just yeah, replace every single one of those with the right type of settings. So that's going to be a facity. Which is going to go in here. Of course, we need to fix up the inits we'll just do that in a second metallic. There you go and normal. And just like that, we're going to get ourselves a nice result. It should be a roughness texture as well, so I'm just going to real quick add that up, and then I'm going to just replace it like so. So now we're going to get ourselves a really nice type of t. Of course, we need to change this up from it to disable to just be a simple mess. There we have it. We got ourselves a really nice type of tra bed. So, yeah, that's going to be it from the lesson in the next one, we're going to continue on working, and we'll start on working with the collisions and just make sure that our character doesn't pass through these items. So thank you so much for watching, and I'll see in a bit. 142. Setting up Collisions: Welcome back everyone to Blender and then real Engine, become a dungeon prop artist course. In the last lesson, we left it off by setting up the last materials. And actually, I just realized that we don't have the water setup chest yet. So let's go ahead and quickly set that up, and that's actually going to be super fast because we already have a material from gems that's going to help us out in this occasion. So we're actually just going to find ourselves materials real quick. And we're going to be done with that, basically. So I'm just going to enable material material instance, and I'm going to locate water actually so you go. So material material instance, we're going to see. That we have water instance over here. I'm just going to open this up. I actually start before opening it up. Let's go ahead and select both of them, right click Act actions, replace reference with one with a longer name, delete the previous one, and we're going to have a bloody type of a material, which is not something that we want at the moment. So let's go ahead and fix that right away. We're going to open this up, open this material up. We're going to change this to a gem material, which is actually going to work out for us in regards to the water. So we're going to go up. We're going to get into the textures. We're going to search the water one, and that's going to be dungeon water. So let's go ahead and open that up and just replace every single type of a texture with this. So we're going to replace a metallic and base color. And I just realized that I miss ambit decusion by rushing too fast. That's okay. So also, We do have a opacity, but again, it's just going to be a plain one. I'm actually just going to increase the water opacity like so manually, and of course, replace the roughness. So now that we have it like so, we also need to go browse assets and change this up to be non anite. Disling it, we're going to get this sort of a result. So that's going to be quite nice. And then because it's not a gem, we're going to change the index of refraction value to quite a low one. Actually, it's going to be a value of 1.33, that's going to give us the right type of refraction for this type of a water. And that's all it is in order for us to set up a nice type of a water for our bucket. Okay, we can now move on onto setting up the collision. And the reason being is that if we were to hit play and try to use these assets, we do have a collision on them, but not all of them are going to be responding properly. For example, we can't jump on this bed or we can, but we're going to be floating or they're not going to be nicely set up, basically. So we need to be fixing them up like. So when we were importing all of the assets, we did have an option that we ticked on for the colliders. And now, in order to check them, what we can do is upper left hand corner within the viewport, we can click lit and we can change this to be if There you go, visible collision, visibility collision. If we were to turn this on, that's actually not the right one, so let me just go ahead and get the right one instead it is not actually in this menu. So let's go back to lit and sorry about that, that's actually going to be applied on top of our lit mode. So we're going to go on to show. And here we have something called collision. So if we were to select it, we're going to see the type of collisions that we're going to have. Most of it, like for tables and whatnot. They're going to be quite right. They're not going to be in the way and we can sit on top of the tables on top of these, but something like chair might get in our way. So we might need to change it actually, even for a chair, that's still quite a nice one, so we can keep it as is. But for more complex shapes, for example, I'd say, yeah, for the suture device, it's going to be floating quite high up, and this one is also quite off, so we're going to be changing that quite a bit. So yeah, basically, we have a couple of options for us to choose in order to adjust these type of collisions. So let's go away and right away make use out of them. So if I were to select this one. Right click, go browse to asset to get into this one over here. And actually, since it is a blueprint, I would like to ideally change up the static mesh itself. So, for us to do that, we're going to just find ourselves the static mesh for this, and I think the easiest way would be to just simply search for a rack. So let's go ahead and do that in a search bar. And so it's going to be this one over here. Now, if we're to double click and open it up, we're going to see this original static mesh. And it's going to be similar to the blueprint in regards to having view port in the middle and whatnot. And we can also enable the show on the upper left hand corner, enable collisions and see how they're generated. So by default, they're going to use simple collisions as a way to collide with the world with or character. We need to change that up. And basically, we have an option upper left hand corner that says collision, which if we click on it, we have a couple of options, we can generate simple sphere capsulan box, for example, if I were to click on it, we can see what it does, and it creates a new type of collision on top of it, but basically, that is not what we want, and we can actually even move it out of the way. So right now with this on, if I were to set it as an example, if I were to click Control and S to save it up, and just show you what it does exactly, just creates an invisible wall in this area, which is, of course, not what we want because it's going to give us more issues. So usually when we're creating collisions, we want them to be just covering up barely the amount of the act. And right away, I'm just going to generate new collision. Other than just creating simple basic boxes for collision, we also have simplified collisions that we're able to generate, which by default, I believe it and generates simplified collision for each one of them. But instead of using them, We're actually going to go a little bit more in depth in regards to that and actually make use of the auto convex collision. If we were to click on it. On the bottom right hand corner, we get more options, and now if we were to by default apply with the default kind of settings, if you want to reset your settings, by the way, you can click this button over here. Then hit Apply is going to generate ourselves a new type of a collision. And if this doesn't work, we can adjust amount and the detail in depth for our colliders. But I think for this one, it actually worked out quite a right, so let's go ahead and leave this as is, and then we're going to be going a little bit more in depth in regards to how collision is getting applied through these settings in the moment for now, though, let's go ahead and click Control and S to save this. And now, if we were to close this down, and it's also going to, by the way, apply it onto our blueprints since it is using that same static mesh. So now if we were to hit play and try to walk on top of our table, we can see that it actually interacts quite nicely to our characters. We can even stand over here, and if it's not floating at all, we can see that the feet is landing properly, so it is quite nice actually. And yeah, that's all it takes. It doesn't matter that we have a small kind of uplift ramp. It actually helps us our character to not get stuck on this ledge. So that's actually quite nice for us. Now, let's continue working with the rest of the asset. So this one over here, this is quite an interesting one. Let's go ahead and select it. Cling browsed asset. Which one is that, that's going to be guillotine. So let's go ahead and search for guillotine. This one over here. We're going to open up a static mesh, just like we did previously, because we had a collision autoconmx already opened up. It's going to already be in the bottom right hand corner with all the settings. Let's try to hit apply and see how this looks like. And it is actually looking quite nice. No, we want to have a hole in between here. Let's say we, for example, want to shoot our enemies or whatnot, or have some assets to be able some props with collisions and physics to be able to pass through these holes. If we want to set up some nicer collisions, we're going to basically increase the whole count. By increasing the oil count, basically, we're telling that there's going to be more holes that it needs to consider when they're placing those collision boxes when they're generating it. It will increase the amount that it'll take to generate this convex collision. So let's go ahead and hit apply, and let's see how this turns up. And it already is looking a bit interesting. It's a little bit too much, I think, because it's trying to get all those holes in between as well, and it's just not picking up the right kind of values. I'm actually just going to lower it down and see how this would look like. And I'm going to go to default, which was four and just increase it to 14, let's see this one. And there you go. That's actually quite nice. But increasing it to 14, we can tell that there's more holes and basically, it'll allow us to have a nice hole in the middle over here, which is going to be really nice. I'm just wanted to check how it looks like in between. We also have undertable as well, which is quite nice. If it's struggling in regards to the shape itself, We can also increase the whole vertices. By increasing hole vertices, it'll basically tell us our generator to increase the amount of these small vertices for the collisions, and I can show you an example if I were to increase it to this amount. It'll give us a slightly slightly larger type of mesh forward a lighter, but I think it was quite right to the default value. I'm actually just putting it to 12 and seeing how this would look like. That's not enough, actually. I just going to put it to 16, seeing how this will look like. I think that's going to be quite all right. Let's go ahead and keep it as is the there's also a whole precision, which, honestly, I don't often use because all it does is basically it tries to attach those vertices photocllder closer to the edge. So right now you can see it's a little bit floating. If I were to increase its value, it'll try to kind of attach itself closer to the object itself, which might be useful, but sometimes when we have certain holes and whatnot, certain amount of complexity within our mesh, it'll be actually more of a nuisance because it'll just give us more artifacts to work with. So I think by default, we can keep it as is and basically move on to the next step. So we're just going to check how this is going to look like, and it's going to look quite alright. And we're right out of time. So we're going to continue working with the rest of them in the next lesson. So thank you so much for watching, and I'll see in a bit. 143. Setting up Mesh as Collision: Hello, and welcome back on to Blender and on real Engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting up some of the more intricate shapes with the collision. And this time, we're going to continue on working with the colitis and set them up within our assets as well. So I think we're going to start on creating this one over here. And that's actually going to be if we're to right click. Spinal asset is going to be stocks. X. I'm just going to write in x and should be able to find it over here. And that's not going to be the case, actually, so I'm just going to search for stocks. Like so. So this one over here, there you go. Okay, we need to find ourselves the static mesh. We're going to double click, open it up. We're going to show the collision simple collision. There you go. And we're going to start on by applying a basic shape. And I think that's actually working out quite well. We might need to increase the whole count just by a little bit. Like so. There you go. We're going to get a nice shape in the middle as well, so that's going to help us out quite a bit. Okay, we can close this down and move on to the upper assets. So we're just going to move one by one. This one is an interesting one. So let's go ahead and open it up. If it's not a blueprint, we can actually have it selected and just double click on the static mesh within the detailed tab. We can just get show and then work on this type of a collision. I think we just start on by doing the same as we did previously, I don't really like them being interconnected. So let's go ahead and increase this by a little bit up to a six. We can't do it too much because it does have a lot of holes for this cage, so it's going to be quite bothersome to fix that up in the bit. So let's go ahead and just keep increasing it bit by bit. And we're going to get this sort of a result, which I'm wondering if it's going to be okay because there's so many different holes in here that's going to cause a lot of issues for us. So I think this time, I think it's the best time to use a bit of a different approach for our collisions. And instead of just setting it up and getting a bit more of collisions because there are so many holes, I think it would be better to just make use out of the mesh itself and set it up as collision. And the way we're going to do it is actually rather simple. I'm going to within a detailed stab, I'm going to search for complex to collision, there's primitives there you go. Underneath the collision tab, we're going to get ourselves a collision complexity, and we can change this to be use complex collision as simple, if we were to select that actually we need to remove the previous collision. I'm actually going to remove collision so completely and use complex collision as simple, which, by the way, if you're wondering how the complex collision looks like, if I were to go to show and just enable complex, we should be able to see it. But it's actually I'm not going to show up because I just deleted them, so I'm actually going to click Control Z a couple of times to go and now check collision. So we do have a simple collision. And we should have a complex collision as well. Let's go ahead and check. Doesn't seem to work, but I'm just going to make sure that this collision complexity is set as a use complex collision as simple. Then I'm going to hit Control on S and actually try it out. I'm going to close this down and hit play. And actually to get the character closer to this cage, I'm going to get the starting character point, which we should have in our area. We're just going to scroll down go play a start. We're going to with an outline, find play a start, and then we're just going to drag this little guy over here. Now whenever we hit play, it's going to start next to this. And yeah, because we're using complex as simple, we're going to basically reuse the mesh complexity of these vertices and actually get ourselves the proper kind of a collision. And the reason we're using actually this time is because obviously we have a lot of holes in this cage. But honestly, whenever you can try using the simplified versions because if you're using it within more complex shapes within this if we were to use it over here and whatnot, we'd be able to walk on it and stand on it, but we'd also be able to posee more issues in the future. So for example, it would be more likely to have the colitis kind of interacting in a wrong kind of way and giving us some glitches and maybe we'd be able to even walk past the colitis at certain point of glitched out on them or even just getting stuck on edges and whatnot. So it's not ideal to make use out of that. Instead, it's best to actually just keep it with low collision. Now if I were to show collisions, so you can see this is the type of collision that we're getting. I'm not sure why that is. I'm actually just going to go into the static measure real quick again, and I'm just going to see the simplified collision. It's still there actually the simplified collision, but it should be using Um, sorry, that's not the one. I'm going to get into the cage, there you go. So I'm going to show the collision simplified collision and still there. But I think that's going to be quite all right. So even if we were to remove collision right now and if I was to hit play, I should be able to there you go. I should be able to still collide with this asset. Since we're using complex collision of the actual mesh to collide with it. Even if we're not seeing the collision itself. So that's quite nice. Now, let's go ahead and go through the rest of the assets real quick. I don't like this collision, and I'm actually going to move this to the rest of the torture area over here. So, I prefer to keep them all in one place. And of course, we need to open this up. So that's going to be dungeon prop stock go, and we're going to show collision, simple collision. We're going to apply our basic one and see how that looks like. And actually that looks Quite right. I'm quite happy with it maybe the hole can be a little bit bigger underneath. So just in case, even though if we're not going to be walking through it, I'd prefer to have a bit of a hole day ago. Since we're doing it anyway, we might as well have a nicer collision. And just increasing hole count, we're going to get a much nicer result. And for the rest of them, this is right, this is quite right. As for the shield, it's actually quite okay. I don't mind having it like this. Um, the weapon rag, as long as we shouldn't be standing on it anyway, so it's going to be quite right. And I don't think we need any holes in the middle. Underneath the table is quite right underneath the bench is quite right. The bed The bed is the only one that actually worries me the rest are going to be quite okay. So let's go ahead and quickly fix the bed. We're going to get this a little bit more to the front, I think. It's going to be quite right, like so. And now, in order to fix the bed, we're going to, of course, open up the static mesh. We're going to apply this and see which, there you go. Simple collision. Yeah, that's actually going to be quite right. We might not be able to stand on top of it, but let's go ahead and test it out, actually. We're going to close this down. We're going to bring our character in. I'm going to press G and just get this little guy over here onto next to the bed, basically. And if it says Bad size, by the way, that means that it interacts the collision is being placed on top of our assets and we basically just want to make sure that collision don't get interacted with this. And yeah, it seems like it's going to be quite right. We're able to stand on this bed. That's actually quite nice. Yeah, that's all it takes in order for us to set up a nice bed within our area, and it's going to be pretty nice to stand on and whatnot and stand next to it as well. So yeah, in the next lesson, we're going to continue on working with the collision, and this time, we're actually going to work with the smaller type of colliders over here with the prop since not only do we have to worry about how to collide with the character, If we want to have them enabled with a certain amount of physics and so we could push them away. We have to make sure that they're set up nicely with the colliders for that. And actually, before moving on, I'm just going to quickly fix up the gold as well. It's been getting in my way. So I'm just going to double click and just apply the same type of a collider. And I can see within the view that it actually looks quite nice, quite a bit nicer, so now I'm just going to be able to stand on top of this gold pile, which is going to be quite nice. So yeah, in the next lesson, we're going to continue working with the smaller proper. So thank you so much for watching, and I'll see in a bit. 144. Setting up Interactable props: Hello and welcome back, von to Blender. Hello and welcome back Evon to Blender and Real Engine become a Dungeon Prop Artis course. In the last lesson, we left it off by setting up some of the collisions for our assets. And in this lesson, we're going to continue working on them. And this In this time, we're going to continue working And this time, we're going to continue on working with them, but we're going to be setting it up for the smaller props. So right now if we were to click Play, we can see that do have collision and some of them are pretty nice, we can stand on top of them or what not. But the thing is, if we want to set them up to be pushed and kind of interactable with a character. So, for example, if I'd have this shield. Yeah, this shield is going to be a great example, actually. If I was to enable physics for it, which we can do so by selecting on it and just searching for physics, like so. So let's go ahead and scroll down. Until we get ourselves to the physics simulate physics. If we were to click this and enable it, now we can hit play. We're going to see that this shield is now we can push it around and just kind of play around with it and it's going to be quite nice. So yeah, there is that in regards to the collision and in regards to the physics. As you can see, it is going to be affected with the way the collision is. And right now because we have certain colliders over here at the front and sudden at the back, they're going to give us a really bizarre shift with the way they land, for example. If I was to put this, maybe it'll look a little bit better in regards to our explanation, if I were to hit play. We can see that it doesn't lay flat on its side as it should. So it's just going to be pushed kind of sideway. So we, of course, need to fix that and get ourselves a better type of a look for that. But before doing that, though, I'd like to quickly walk over what physics are and how they're being simulated. And by default, usually, they're going to be quite right in regards to the scale. Because the physics, the size for them and the way they're getting interacted are going to be dependent on their size. So for example, right now, if I were to take a larger asset, this one, for example, or actually think it'll be better to use this box. If I were to simulate physics for this box and hit play, and if we were to try to push it, it's going to be much much harder or although it's quite easy to push it anyways, but it does move quite a bit faster in regards to, for example, this tiny shield over here. So the way we are pushing each of the assets is going to be dependent on the scale of an object. And if it is way smaller one, for example, this ale mug over here for work to simulate physics, hit play, we can see that they're going to be just knocked over and kind of flying over to the site. So depending on an asset, what I'd like to do, I'd like to increase their weight. For example, this shield is going to be quite a bit heavy. It does have metal on it. So we're going to be increasing its entire weight for that. Right now, I'm just showing you how to enable the physics. I don't recommend you personally to enable physics to each and every object because it is firstly going to be slower, and secondly, you'll have basically less control on how they're going to be placed and whatnot in your world. And I just prefer to set them up only for a couple of objects, only for the ones that are reachable or maybe like some of the ones that are on the table and whatnot. So for example, with the shield, going back to the shield. First things first in regards to the weight in order for us to increase the weight, we can change up its mass. For example, if I were to enable this and it'll give me 100, which I think is a default value, so it's actually going to give us a nice a result or maybe it's not I think I think it actually made it heavy. I think by default, it was set to one perhaps. Me just go ahead and check it, and that's actually way. I will go into this crate real quick and actually test it out in regards to its weight. So Muscular grams 100 if I were to keep this as 100, it's going to be much lighter right now because it's not using our default size based scale. So I Right now, with 100 set up, it should give us this sort of result. But if we were to set this to 1,000, for example, which is a bit extreme, but it'll make a little bit more sense. It's way harder to push this, and I think it's barely moves actually. So I'll just set it up to 300 and just show you the type of difference. So right now, it's actually quite as heavy as is. So maybe 200 and it moves barely, but again, it's way too heavy. So 100 was a bit too light in my opinion, if I were to set it up as 100, it's way too easy to push, so 150 might do the trick. And yeah, that looks much better. Now, we just need to make sure that it doesn't have that sort of a collision, which we can do so by going into its asset. So we're just going to open it up as an asset, and we're going to generate a new one, I believe. Let's go ahead and apply. Let's show the collision. Yep. Okay. We're going to get into it. And yeah, that actually looks pretty nice. So now, once we have it, like so, we can hit we can hit play. I just maximize my screen by accident inside of my angle. But anyway, there you go. Now we're going to have a nicely place shield. And because of this, I think we can get away with just having a default value of a mass. So I can actually turn this off. We might be quite right in regards to that. It's a little bit too light. So let's go ahead and keep it as 130, I believe. For this one. But also, I should mention that we also have a certain control over the physics in here as well. So physics, if I were to search for it. And yeah, once we're done with that, we can also rotate this around, for example, and check how it looks like when it lands on its handle. And actually, it looks quite all right. So I quite like that. And yeah, by default, the static mesh that we have in our content drawer in our content folder where to find it. It'll I won't have that physics enabled because we only enabled it for this specific asset. So what I mean by that is if we find ourselves the shield or actually, I'm just going to search for it shield like so. If we were to put it on in this area, we're still not going to have this shield enabled with the physics. So whenever you place it in the world, we have to enable that individual, which actually helps for us because we don't want all of the assets to be enabled. For example, if this one is going to be next to the table or whatnot over by the side, we wouldn't want this to have any type of collision, it would be totally okay to just have it without any not the collision, sorry, we've had any type of physics simulated because it would be part of the prop. But in regards to the shield, another thing to consider when we're working with physics is that it'll be affected by all the collisions. So for example, if we want to place this, let's say, in a shelf, like so, even though it looks like it's going to be placed nicely on here, whenever hit play it's actually just going to get spewed out like so. So we obviously don't want this to happen. And instead, what we want to do is we want to make sure that they're being placed nicely. So for example, if we have certain books over here, and we want them to be placed with physics on, I'm actually just going to click control instead and make a duplicate out of this instead. So if we want this book to be placed in here, just like that with certain physics turned on. Well, without physics, it's going to be quite a right for them to be just stuck in a book in a place like that. I'm just going to remove the shield because it gets spewed out every time. But yeah, if we enable this with physics, so I'm just going to simulate physics like so, It's going to be over here, simulate physics. If we were to just do that, it's not going to hold. So what we have to do is we also have to make sure that wherever we place those type of assets with physics, they're going to have properly set up collisions with the larger assets as well. So we can place this one on a book on the top of the shelf, for example, it's going to be totally okay. If we want to have certain books that are going to be affected by the physics, we need to make sure that we are able to use the shelves over here. The way we're going to do it is actually we're going to generate ourselves with nicer collisions for those ones as well. We're going to hit apply, and we're going to see how this looks like, and that looks quite nasty. So we're just going to increase the hole and see how this would look like for example. This already is looking a little bit better, but we need to increase the whole count. And that's not going to help. At this point, we're going to increase the max hole vertices. How that helps us, and it's helping out a little bit. But it's still giving us some nasty results. So I think I'm actually even going to increase both of them to max and see how that goes in regards to the entire side, but that's not going to do. I'm going to increase the whole precision just a little bit. And this one is the one that's going to be responsible for the biggest low time. But It seems that by increasing the whole in precision actually gives us some really, really nice type of space for us to work with. So yeah, that's one way of doing it. Another way would be to just use a complex collision on this. So maybe on this one on the upper one, I would be using that since it does have somewhat of a simplistic mesh. If, for example, when we're using it, we can use millions of topology, and obviously, that would not work with the collision. But in regards to this shelf over here, using a complex collision would work quite as well. So for this one, I will set it up as a complex collision. I'm actually just going to use search for that, going to search for complex, and this is what is going to give us collision complexity. Just going to use complex simple hit close, and now we don't have to worry about the collision for this. So we can walk next to them and we're going to be totally fine. We're not going to be going on top of them. But now, if we set some books in them, it should set some nice physics based books, like so, And I'm just going to put it on the oversight as well. Since this one has complex collision, this should be totally okay. So now if we hit play, even though I didn't rotate them, they're going to be placed quite nicely there you go. So that's quite nice. If we have some explosions, for example, within ourcene or whatever, those books are going to be flying out of the bookshelves, which is going to be which which would be really nice in regards to the game play. So yeah, that's going to be it in regards to that. In regards to setting up the physics based objects, we still haven't set up some smaller collisions for smaller areas. So we're going to work on that in the next lesson, so. Thank you so much for watching, and I'll see it a bit. 145. Working with Smaller Props for Collisions: Welcome back over onto blender and then real engine become a Dungeon prop artist course. In the last lesson, we set up some of the more interactable assets within our scene. And in this lesson, we're actually going to start off by getting checked for the small assets, how they look like with regards to the lider. So let's go ahead and do that real quick. And then we're going to move onto setting up collections of assets, so we wouldn't have to continue on manually placing each one of the small assets on, like tables and whatnot. But yeah, we'll come back to that in a bit. Let's go ahead and just go over each of those colliders first. And I think something for a bowl thing that might look a little bit off, so we're going to go ahead and fix that right away. I'm just going to select this bowl, going to open a static mesh. And then I'm just going to use the collision that we had previously set up. I'm actually just going to turn on the simple collider, just so we can see how it looks like right now. So it's going to look like this. And we're going to actually just apply this and see how that's going to look like. This is going to be much better in regards to collision. So we can leave it as is. Now as for the other ones. Although, for example, for the mugs, we don't have areas for the handles, for example, it doesn't actually matter as much because if we were to have it simulated for physics. So if I were to have this enabled, like so, if I were to click play, what we can see is that it actually kind of behaves like it does have a handle and whatnot. It does get stuck on the side. So it is actually quite nice, although by the looks of it, it doesn't end up kind of rolling to the side of the handle because there should be a bit more weight. So we do actually need to maybe fix that so that it would interact properly with the world. And I'm just going to check the other one as well at the same time. I'm just going to have this enabled for the physics for the mug, this mug, and going to see how this interacts. And yeah, this one lays properly on the ground or no, it doesn't by just changing the camera, I can see that doesn't actually go down. So we might need to adjust both of these coals real quick. So let's go ahead and do that. We're going to go into static measures for each one of them. We're going to apply and see how it looks like with its collision. So that looks much nicer in regards to collider I think. Let's go ahead and play. Let's see how this one looks. Of course, they're flying off a little bit too much off in a distance at the moment. But we're going to fix that later now. It lays actually properly on its handle. It looks much better in regards to that, so that's quite nice. And we're going to do the same thing for this Ale mug as well. Let's go ahead and do that. We're going to apply a collision. And it's going to give us the same result. And I'm actually not going to testers pretty much going to be more or less the same kind of a result in regards to this as well. Now, as for this type of a jug, we should probably do the same thing. So let's go ahead and apply our new collider, and it's actually quite all right. We don't have to worry about it too much because all we got Focus is making sure that it gives us a nice kind of a pounce and it kind of rolls nicely whenever they have nice collision supplied, so it's going to lay nicely on the handg. So that's going to be much much better. As for the rest of the assets, they don't have to be perfect, for example, like the scroll, even though there is a bit of a collider in the middle, that doesn't concern us too much because it's such a small prop. We don't need to worry about it interacting with our assets too much in regards to that. In regards to candles and whatnot, I think we can get away with just leaving them as Yeah, let's go ahead and test it out, actually. I'm just going to enable physics for this one. I'm going to drag this out a little bit, going to hit play, and I'm going to check how this one would interact with the world. And yeah, this one just ends up floating off on the side. So I'm just going to also change up its static mesh. Let's go ahead and do that. We're going to apply a new collider. And just like that, we're able to fix it. And just in case we're going to hit place, see how this would interact with the world. They go, it looks much better like that. So we can leave it as it is for now. I'm actually going to turn off all the simulated aspects for these assets on our See, since we are going to be setting them up, to be interactable a little bit more when we're setting up with the blueprints. So for us to kind of just quickly take off the simulation from all of them. I'm actually just going to go ahead and go to the very top, just grab all of these static messes like so, and I'm just going to grab it like so, going to search for simulate. And actually, I think it's because I have not, yeah, it's because I had the blueprints ticked off. We can't find a simulation. So I'm just going to make sure I have these ticked off like so. Going to hold control and tick them off. And for some reason, it likes to just kind of go down the entire list. But anyways, once we have all of the static measures and only the static measures selected, we now have the option within the detailed stab that says, simulate physics and it actually has something like a dash which means that it is set with multiple values, it either has Tikton or TikTo values. But if we were to click on it, we're going to be able to tick off for all of them. And if we by chance had them all TikTon, we could just click on it again. It would take that off. And now, all of our assets again does not have any simulation, which is actually better for when we want to preview all of these assets just like that within our world. Yeah, for in regards to something like this bucket, for example, because it has water, we probably wouldn't even want to enable any physics to it. We wouldn't want to have this water look like it's when it turns to the sideways, it's not going to do anything to the plane of water. So it's purely for aesthetic purposes, this type of a bucket. So I think it would be best if we were to just leave it as without any of the physics, and therefore, because of that, we don't have to worry about it too much in regards to it's going to roll and whatnot, and we can leave it as is. And yeah, I think that's going to be it in regards to the smaller assets. I'm actually going to put this shield back next to the weapon rack, like so, so we could have it everything neatly organized. And I'm actually just going to delete this duplicate of a shield that I had placed on a table. So we're just going to leave it as is. Just like that. Okay. So I think we're going to cut this lesson short and then in the next lesson I'm actually just going to start off by getting more familiarized with blueprints and how they work and how we can make use out of them in order to set up properly collections and of assets. So yeah, thank you so much for watching, and I'll be seeing you in a bit. 146. Creating Asset Collections: Hello, and welcome back to Blender and then Real Engine become a Dungeon prop artist course. In the last lesson, we left it off by setting up some of those final collisions for our assets for the smaller ones. And now in this lesson, we're going to continue working with our assets and actually start setting up collections of them because if we were to want to use these props and assets just separately, every time we'd have to position and place each one of those smaller props on, tables and whatnot, and that would take a really long time. So we got to make use of a blueprint in order to merge these assets together and kind of have collection out of them. For us to do that, we're actually going to make use of a blueprint functionality. So we're just going to right click on our content browser. We're going to get ourselves a new blueprint class, and we're just going to create ourselves an empty actor. So for this one, I think we can just start off by using these shelves over here. So we're actually just going to call this one shelf one, like so. And right away, we're going to just simply double click on it to open up the blueprint editor, which, of course, is going to start off by being empty. So we need to get ourselves the shelves and books into this place. So we can either make this window smaller and just grab it from the contra browser over here or alternatively, if we have this window set as large, which I'd recommend you doing it because we're going to be working with it now, so we'd want to have the viewpoard properly maxed out. So what we can do is we can just simply click control and space and open ourselves up with a content browser right away just popping in into our blueprint. So all we got to do within this is just find ourselves the assets that we want. So we're just going to go onto our assets folder, and we're going to find ourselves the shelf. So let's go ahead and get ourselves a shelf. So I think we're going to start off with this one over here, actually. We're just going to drag it into our world, and that's going to position it right into this location. Like so. And now, of course, we need the books. So we're going to drag a couple of books in here as well. We're going to click Control and space, and we're going to locate the books that we want to use. So let's go ahead and do that, actually. We got a couple of books over here, we're just going to drag them into our location, like so, and we're just going to move them back. Actually, it moves everything back, so I'm going to click control on D and just going to grab all the books. And if you look at the top left hand corner, we can see that these books that I had just imported actually are going right into the bookcase itself because that's the way it is right now. So I recommend you just taking all of these books out first. So we're going to select the top book, and we're going to hold shift, select the bottom book. Then we're just going to drag it into the default scene root. So this way, we're going to have assets. And even if we now were to move this bookshelf, the other books aren't going to move, which is actually going to be better for us in this case. We're just going to grab each one of those. We're going to hold control and click on the bookcase, so we wouldn't have it selected, and we're just going to get it into our scene. So now we can actually position them into our Okay, so we're just going to do that. We're going to place each one of them individually like. And yeah, I think we can just grab them like so and just place them just like that. One by one, until we get the right type of a result. I think that's going to be quite right. Now, if we want to duplicate it, we can also do that. But let's go ahead and just position all of these books like so, so they wouldn't be stuck into our bookshelf like that. And I think that's going to be quite right. We can also position these books somewhere in the bottom as well. They're going to look quite nice as well. There you go. I think these books that are a little bit too dark for me, I'm just going to increase the color value real quick. I'm going to change I think it was a multiplier. It was not multiplier. I'm just going to change up the saturation. There you go. And get ourselves back with to the saturation. And yeah, there you go. That's going to be a little bit better in regards to that. Now we can just place the rest of the books like so. And yeah, I think that's going to be quite right now. Okay, in order to set ourselves up with a nice bookshelf, we, of course, need more books more than just a simple line. Now we're going to see every single one of those books. So let's go ahead and hold control and just go for each one of them like so. Going to move it to the side to see that Yes, they are all of them selected. I'm also going to put it to the side a little bit like so. And it seems like the movement, the motion is a little bit too intense when holding a right mouse button to move it. So in order to get more fine tuning, I'm actually just going to hold a right mouse button and while moving. I'm just going to scroll my mouse wheel, and this will just kind of slow down the entire process. Now, in order to populate this type of a bookcase, the best thing would be, well, first of all, let's go ahead and hold control and select every single one of them. Then we move it to the side. And I recommend you just select each one of the books randomly. Then click Control D and just make a duplicate. And then afterwards, you can just simply move them like so. And just at random, if you were to just click one of the books and kind of have them selected and now click on other books. And basically, we get ourselves in a random order, and that way, we'll get ourselves a much nicer type of a line. Now, if I were to do this a couple of more times, and it's going to give us a really nice type of a setup for this book case. Let's go ahead and just continue on doing that. One by one, we're just going to drag each one of them like so. And final one. I think that's going to be too large though in this gap. So I'm just going to delete it. Or actually, I'm just going to make a duplicate out of this and just squish it down. So if we were to hit R, we can just use our scaling tool and scale it down like so. So that's going to be quite nice in regards to setting it all up. Now, if we want to duplicate this entire set, what I recommend you doing instead of just grabbing each one of those individually, I recommend you just open up the components tab and just Now, if we want to populate the shelf to the upper one, we're going to just make a duplicate out of this. But if we were to just simply make a duplicate so forward to just make a duplicate out of this like so, and then try to move it up, it's only going to start moving one of the books because it diselects all of them right away. So that's not what we want. I'm just going to click Control Z to undo that step Control to make sure that this book was in place. And I'm also going to make sure actually to just drag is because I just noticed that they were clipping with the shelf. But yes, anyways, in order for us to just quickly make a duplicate out of it, because all of them are named books, what we can do within a component, so we can just search for book, and it's going to get us all these books like so. And actually, it's going to give us more than just books. So instead, I'm just going to search for props, underscore book. So. And this way, we should get ourselves all of these books without any additional ones. Still giving us a stack though, but that's okay. We can just basically copy this while holding Shift, we select the first one, we select the bottom one, we're going to hold control, and then the select the book stack, and now we're going to hit Control C, Control V to make a duplicate. This way, we're going to keep all of our selection in order within the blueprint itself. Now what we can do is we can just scroll it up like so and get them nicely positioned. I can see that some of them were actually clipping up, but I'm just hoping that they're not going to be visible underneath. It's a bit dark to see. So instead of what I'm going to do is actually I'm going to change from lit mode to unlit and see how this would look like, and that's actually It doesn't seem like it's clipping too much. I feel like there is some clipping. I am going to move them up in a second, just a little bit so we wouldn't get those with bizarre artifacts. Let's go ahead and just position them in a way that wouldn't be visible for the bookshelves. I'm actually just going to lower a couple of them like so. I think that's going to be quite all right. In regards to the ones that we're clipping, I am going to grab all of these books like so, and I think Yeah, I think it's going to be much easier for were to make use out of the component step. So I'm just going to hold a shift and select make a selection out of them all. And actually, I'm just going to go down with the ones, for the lower ones. So I'm going to select, half of them more or less, and then I'm just going to deselect the ones that I didn't want to select. And actually, I can see that these are the top ones. So I'm just going to make basically the opposite selection of that, like so, and I'm going to select bookcase and the stack. And I'm going to kind of raise them up just a little bit. And I think that's going to be quite all right. These books are floating in the air. So let me just lower them down. And, yeah, that's all it takes in order for us to set them up nicely. We can just rearrange the order a little bit just to make sure that they look a bit different in comparison to these. And that's just going to that's all it takes in order to set ourselves up with nice row of bookshelves. So now, if we want to see them, how they look like within our scene, of course, we can do that. So once I'm done, rearranging them like. So I think that's going to be quite right. We can click control and S to save it out, make sure that it is compiled, but it should be quite okay if we were to just close it down. Compile is basically upper left corner. There's a button like that, but that's only mainly for coding and whatnot, so we're not touching that just yet, so we're just going to close this down. And now we have ourselves a bookshelve. So we can just place it within our scene, and we're going to have all the books placed with them. Of course, we haven't touched anything about the simulations or physics and whatnot, but we're going to do that in the next lesson, where we're going to be setting it up with tables. But for now though, it's actually going to look quite alright in regards to how we can populate it. Yeah, so thank you so much for watching, and I'll see you in the next lesson. 147. Setting up Asset Collections with Physics: Welcome back. To Blender and engine become a dungeon prop artist course. In the last lesson, we left it off by setting ourselves up with a nice shelf using a blueprint. And in this lesson, we're actually going to continue on working with props and setting up collection. This time, we're going to set up ourselves a nice table with a bunch of other assets. So let's go ahead and get into it. We're going to simply create ourselves a new empty blueprint. Let's go ahead and right click with a content browser. Create ourselves a new blueprint class. Create selves an actor, and we're going to call this one table. Yeah, I think we can call this one table. I think that's going to be quite right. Then we're going to open it up, and of course, we're going to hit control space to get ourselves content browser. We're going to find ourselves a table. We're going to drag it into the world, and we're going to get ourselves this sort of a prop. I'm also just going to lower down the camera speed by just scrolling down my camera. Like so. I think that's going to be quite all right. There you go a bit better in regards to this piece, we're just scrolling it down using my mouse wheel button. And now, we're going to of course, get ourselves a couple of assets. So let's think on what kind of assets we can get within the stable. So we can get ourselves this static mesh for a props for the bowl for the spoon. It's going to bring it up, like so. We can also get both of these mugs, just like that, and also this mug over here. It's actually going to be placing it. We have to be very careful when we're placing when we're dragging it into the scene because right now it placed it within this asset over here. I'm just going to click Control and Z to undo this step. And I'm going to check. This is also being placed in the same type of an area. So one way of fixing it because we need to fix it because of course, when they attached if I were to move this bowl is going to also move this ale over here. We don't want this to happen. So we got to detach it, and we're going to do it by simply dragging this out onto our default scene root and attach, if I were to just attach it, so. So we're going to have them separated, just like that. Now if we were to move this bowl, it's going to be separated, which is quite exactly what we want. So in order for us to make sure that doesn' happen, we're going to just click off from the selection over here within our component stab we're going to hit control and space, and now without anything selected. We're going to bring something in. We're going to bring in this new L into this, and now it's going to be placed nicely and not within the root of our object. So that's going to be an easier way to work, I suppose. And I'm just going to place it over here. Now, when working with this, of course, we have an empty space over here and it might be a little bit quite hard in regards to setting ourselves up with a nice composition within blueprint. So one way that I like working in regards to blueprints is if we were to click controls and S to save it out. I'd like to sometimes minimize this window and put it basically on the side. So we'd have basically kind of a smaller window on the right hand corner. That might be a little bit too small, so I'm actually just going to make it. And then what I'd like to do is just simply drag this into the world. So now we're going to have it in the world. And now if we were to move this Within a blueprint, we can see it moving it real time within our assets. So it's actually quite nice in regards to how we can see it underneath a nice kind of a lighting setup. And we just want to have a couple of ales and just some bit of dishes over on the side, and it's going to look much much nicer like so if we were to just rotate this a little bit sideways, one like this, one like this, and as for this. I think we can make a copy. I'm going to hit Control C Control V just to make sure that it makes itself off I duplicate, and I'm just going to rotate this like so. And I think we're pretty much done in regards to that. We might want to check what kind of other assets that we want within this place. So let's go ahead and quickly do that. We might want a plate. So I'm just going to drag this in here, which actually just brought it into our asset. I'm just going to make sure I have it deselected within my component tab. I going to hit control in space. Bring this silver plate in. And let me just check how this looks like. I think I don't think that is going to look like quite as nice on this particular table. I'm just going to delete it like so. And I'm going to close down a window or actually before closing it down, what we can do right now is because this is a table if we were to hit play, because this is a blueprint. We want to have some interactable assets and then being able to fly around if we were to just stump them and whatnot. So we're going to make sure we have that handled as well. And we're going to go into the blueprint and before we talked about simulations and interactable objects and whatnot, and how we should normally set them up. Only within level because some of them, you don't need to have them assimilating physics all the time, so we have them disabled. But now on something like a table, every player would probably want to just kind of run on top of it and just mess around the table every once in a while. So it's only natural that we have it enabled all the time for these smaller props. So let's go ahead and actually do that. What we can do is just holding control. We can select multiple props like so. And within a CTL stab, of course, we're going to search for simulate. Going to give us simulate physics. Now if we were to enable this and click control S to save it down and close down this window, we can, if we were to look at it, we can finally just run around and basically destroy this entire table content, and it's actually quite nice in regards to that. So actually, by making use out of that, we're able to get ourselves a really nice type of a set up. Now, one more thing that you can do with blueprints is that they are easily adjustable whenever you want, even though you have multiple of them within the scene. So what I mean by that, if we were to duplicate this by holding old, if I were to drag this out onto multiple sections. Now what we can do is, of course, they're going to look the same, actually. Yeah. Just to show off the point, I'm going to go into the blueprint, like so, minimize this, make this a little bit smaller, go into the viewpoint of it, and now what we can do within it. Is if I were to move this mug, it's actually going to start moving all of them at once, which is really useful and handy for whenever we want to adjust the scene afterwards. So even though we are going to have this, for example, populate our entire scenes, if we were to have this elected, even though we have them populate the entire scene, we can still adjust after kind of composition and whatnot and set ourselves up with a nicer scene, for example, if I want to have even more mugs in this area, for some reason, I can hit Control C, Control V, and make a bunch of duplicates out of them, which actually, it seems like it duplicated the wrong things. So let me just click Control and Z and I'm just going to go ahead and select the mug like so. Click Control C, Control V. There you go. So we can have even more mugs basically. So that's actually quite nice in regards to that. And yeah, that's all it takes in order to adjust the entire asset files and whatnot. Now, one more thing that we should probably also do is if we were to hit play and try to run across these areas. The assets that are going to be flying out by the default are going to be quite lightheaded. It doesn't detect the fact that they're actually reinforced by entire metal sections, so they're going to be messing around too much, so we're going to be fixing that up actually. So we're going to open it up within a blueprint. We're going to have them selected like so, all of them using control. And now we're going to go to the physics tab, which is over here and basically change up the physics. I think we can start off by having 50 kilograms, 50 kilograms, which might be a little bit too heavy, but honestly, we just need to test it out and see how they interact with the character. So now, once we try running around, that's that might be a little bit better in regards to how they actually go off the table. So I think leaving it as 50 kilograms is actually going to be much better and nicer to how the player just kind of shoves them off. So yeah, we're going to actually leave it as 50 kilograms. And then in regards to the blueprint, what's also nice is that if you want to change the scale of an asset, instead of changing it through its static mesh, what we can do is also we can change up short away the entire asset over here. So if you want to just make this entire scale larger photo tables, we can do that as well. Yeah, I have them all selected, so holding shift, if I have them all selected just like that. And holding shift. So now, if I was to click R and go into the scale tool, I can just make them all larger. But actually, that doesn't seem to be changing up the scale in regards to all of them at once. So let's go ahead and try fixing that up real quick. I think it's because of the way of the origin points are set up. Let's try to, it's because actually we're using local points, perhaps. Actually, I'm just going to maximize and see why that is happening. So I'm going to try to make this entire table at once. That doesn't seem to be working. So I'll firstly try to change my Gizmo from local point to the world point. And see how that will make it behave. That doesn't seem to help at all. So I'll try another method which is going to be all of these props kind of place within a table and then have only the table to be scaled up. So there you go do. Now it behaves much, much nicer in regards to the scale and how they're being scaled up. Basically, they're going to be scaled up from that same Gizmo point, so that's going to be much nicer. So, yeah, that's all it takes in order for us to move this and scale the table. And just in case we can also just take up these props and just put them back in a default root scene area, and now they're going to be separated nicely, so we can still move this for example table, if I were to click W and move this around, they're not going to be attached to that when moving. So that's going to be quite nice. Yeah, that's basically how we make use out of the blueprints in order to set ourselves up with some nice type of crops and to have them set up as collections. And now we can just drag and drop this blueprint into our world and populate our entire scenes just like that simple, easy past of stuff. And it just saves up so much of our time when we're actually trying to make a nice scene and populate it with our assets. So yeah, that's going to be it for our lesson. Thank you so much for watching and I'll see in a bit. 148. Setting Shelf blueprint with Partial Collision: Well, welcome back ever to Blender and then real engine become a Dungeon prop artist course. In the last lesson, we left it off by setting ourselves up with some nice tables for the blueprints, and we duplicate a little bit too many of them. So let's go ahead and have them all selected, and we're just going to delete them like, so we don't need all of these setup. We just need, like one in our scene just to see how it looks like visually as a blueprint. And I'm just going to place it behind a table to have a table. So, Now, we also have another area for the bookshelves. We already tried placing them with physics, and we're actually going to talk about in regards to mixing up the physics as they are to simulate them actually. And actually, we did turn off all the physics. So we're just going to remove these books that we're just flying around, and we're going to start on working with this in blueprint. So let's go ahead and create ourselves a new blueprint class. We're going to actually get ourselves an empty one, call this book called this shelf two. I think that's going to be quite right. And we're going to, of course, open it up. Now, as for this one, we're going to find ourselves, this bookshelf, we're going to drag and drop it into our world into the blueprint world that is, and we're going to now start setting it up. AF that, I'd like to see how the collision looks like. I'm still not sure in regards to that because the previous one looked much better, and as for this one, it's a little bit to all over the place. For example, in this corner. If we had some books that did have collision, it'd be catching up, and we also have some collision that are just going to make the books fly around basically in the air. Bottom shelf might be quite right, though. But yeah, I think, just in case we're going to change it up to use complex collision instead. So it would behave better in case we do want to have some collision books. So we're going to open it up within static mesh. We have this selected within the detail tab. We're going to double click on it, open this up. And of course, we're going to just change up to collision. So I'm just going to search for complex, and that should pop it up. There you go. Collision complexity, set this up as complex, use complex collision as simple. Now, we should be quite all right. I'm just going to try it out just in case in regards to the books. Actually, we do need certain amount of books in here. So I think it'll be best to copy the books that we had previously. I'm actually just going to open up a previous blueprint that we had, and we're going to go onto the viewport. So we have a bunch of books over here that we already had set up. I'm actually just going to copy all of them except for the shelf. So I'm just going to make sure I have this selected. Then I'm going to hit control and see to make a copy. I'm going to go on here and click Control and V. Just let me make sure that this is not selected, so I'm going to select it within component tab. Going to hit Control C, Control V basically. And this way, we're going to have all that pattern already set up nicely within our area. So that's going to be quite nice for us to use. We're just going to make sure that they're placed nicely within the scene. And I think we can just firstly drag it forward a little bit. So I'm going to drag it a bit more to the front so we can see the ones sticking out and the ones that we need to delete basically. And we're just going to start actually deleting ones that are and not working out, basically. I think these ones are going to be quite alright. And yeah, that's actually going to be really good. So I'm just going to also place them in here. And yeah. We just need to make sure that we're not having those books float around. I'm actually just going to lower them down by quite a bit. And I think the easiest way for us would be to have them all selected and then deselect the shelf holding control and deselect this smaller pile over here. Now we can drag them down just like that. And that's going to be not enough, actually, because we have smaller type of wooden shelves. We need to make sure that they stick in properly into the things. So I'm just going to raise it up as much as these higher books, and then I'm going to lower them down manually. So Since I did make a bit of a blunder in regards to the previous bookshop, but we didn't have to worry about them as much because all of them were just static messes and they were just sticking in. But for these ones, I would like to have ideally some books that are actually having collision. We could enable collision for every single one of them, and it would be quite nice actually. We might test that out. But honestly, when working with multiple large assets and whatnot, I recommend you just having certain ones, the ones that are sticking out the most, for example, to be enable. So whenever we're basically running past them, we're going to get a much much nicer result in regards to how one is going to be dropping basically on the ground or whatnot. So for example, we have it like so, and I think that's going to be quite right. Maybe we should going to lower this upper section a little bit as well just going to slow down my camera by using mouse scroll wheel. And now, There you go. I think that's going to be quite right. And yeah. So going back in regards to the collision. So if I want to, for example, set a couple of books in the front row. This one over here, for example, is going to be needing to stick out a little bit more, so our character would be able to kind of go past it and kind of knock it over, and I think not too much though because we don't want it to be falling off. I think that's going to be quite all right. So now if we were to turn on a similation And also another thing that we need to consider when doing this is, of course, the collision of both the bookcase, the bookshelf and these books as well. So if we want to have in our blueprint everation of static measures and non static measures, we're going to just make sure that the collisions don't overlap, basically, because these books also have collisions. Let's remember that. And now, if I have this book as separate, if we were to hit Control and S to save it and now place this over here into our world, like so. I think we could keep it over on this side. And I'm also going to click G, going to game view and put my character over here, click play, and then see how this would look like. So yeah, book falls off from the shelf. We don't want this. We want it to be a little bit more inward, so we're just going to put it like so now we're going to hit play, we're going to see how it looks like. And then you have it. We're going to have a book. And if we were to run it and slightly kind of nudge it actually doesn't behave quite as well because we do need to increase its weight. I think I'm going to use a weight of 50 kilograms, so we're going to search for mass. We're going to get this mass over here. And we're going to change up the mascograms to be 50. That way, we'll get ourselves a much nicer type of a result. So it's kind of a nude day ago. So that's quite nice, actually. Maybe we can now avoid it falling off if we were to make it no. That still falls off, so we're just going to slightly nudge it inwards, and yeah That's all it takes. We can have a couple of books like doing that sort of thing, and I think that would be quite right. I think those smaller black books can also go ahead and we can enable them with a simulation. And of course, both of them, I think we're going to have a mass of 50. And this way, We're going to click Control S to save it. Click play. And now, yeah, we can slightly touch them, and you can see a slight nudge kind of thing. And it's all it takes in order to kind of fake that feeling that we're interacting with the books. You don't have to all of them necessarily be enabled in order to get that sort of a result. And I think that's a much nicer way of having control over your assets, your blueprints, and whatnot, your smaller props. And yeah, we still have a couple of minutes left. So let's go ahead and actually make use out of time and actually get both of these blueprints and set up a row, so we'd be able to check how they look like. So I'm just going to hold drag these out, like so, and position them one to the next, like so, hold shift, and then select both and drag it out like so. So this way, when we're adjusting blueprints, we're going to see how they're going to look like. And of course, we should probably take off the collision while we're doing this, I'm going to go to show. Going to take off the collision, and now we're going to see it much nicely in regards to that. So Yeah, I feel like the red books are a little bit standing out too much on this shelf. So I'm actually just going to open this up like so and going into the viewport. And actually, I'm going to open up both of them like so. So while having both of them on, we can go between the tabs and basically switch them out like so. So this one is going to be with the smaller ones. I'm just going to go ahead and go into it. And yeah, we can just put them a little bit more to the back. I think that's going to be much, much nicer. Blue ones may be a little bit more to the back as well. There you go. As for this, I think that's quite all right. And these couple at the very top are also a little bit standing out too much, so let's go ahead and basically get ourselves a much nicer pattern that doesn't stand out too much in regards to when we have multiple of them placed and I think that's much much better. We can also go onto the shelf one and see how this would look like. So just by seeing it, we can notice that Maybe the bottom. The bottom area is a little bit too empty. I'm actually just going to grab a couple of books from this area over here, maybe just like free of them like so. Is going to hold control, grab them, use Control C, Control V to make a copy, and then drag them down. That's actually going to be much better like so. And of course, we need to position them in a right kind of way. I think that's going to, I think that's going to make it look much better in regards to how these look like. And also, if we want more variation, we could, of course, set up more of the bookshelves and get them look much nicer in regards to that. As we have more variations, we'd be able to get that pattern looking more unique and whatnot. But I don't think we need it for this situation. So let's go ahead and just take these books over here. Yeah, I think that's going to look quite alright. So, let's go ahead and leave it as and actually delete those bookshelves. And then in the next lesson, we're going to continue working with some additional blueprints and set up some of the other assets within our scene. So thank you so much for watching, and I'll see you in a bit. 149. Creating Emissive Textures for Light Sources: Hello and welcome back to Blender and Real Engine become a Dungeon prop artist course. In the last lesson, we left it out by setting up some of the more interesting blueprints in our assets. And now we're going to continue working on with blueprints. And this time, we're going to focus on setting up some of the light sources for our scene. So, for us to do that, I'm actually going to show you a really nice and simple way to use particles to just animate some fire. And in order for us to set that up, we're going to actually make use of the And I think we should start by setting up the emissive texture maps for these candles for these lights. So we're going to do that first. But if all these textures aren't actually lit up properly. So if we were to turn our entire scene into dark kind of a situation, it's not going to look quite as well. It's going to have a minimalistic type of gloves. Of course, we need to fix that up first. So we're actually going to set ourselves up with a nice emissive texture for that. We're going to go into materials, and we're going to make a copy out of the PBL material. Let's go ahead and do that and Control C, Control V. We can do that. We can click control F two in order to change the name. And we're going to call this one PBR emissive. Underscore missive, like so. And we're going to open it up, and we're going to basically get ourselves a nice emissive texture applied onto this material. So for us to do that, we're going to simply hold T, tap on a screen. We're going to hold M, and we're going to have ourselves a multiplier of a parameter. So we're going to hold S, and we're going to hold this one emissive strength, underscore strength. So this way, we'll be able to control the brightness of this texture of the texture of our torches and stuff. So that's going to be quite nice. There you go. And we're going to attach A and B, just like that for the parameter, zero, we're going to keep it as one, so it would give us the default type of a color out of this emissive. For the texture, we can change this to be any one of the emissive. Since we're going to be replacing them easily anyway. We can now right click and set this up to a parameter so we can just call this emission, just like that. Now, once we're done it so we can click Control and S to save it. Of course, once it's done loading up, We can now close this down and go into our texture. We can right click, we can create a material instance, like so. And for this one, that's going to be charcoal. So let's go ahead and call this charcoal instance. Like so. And then we're going to replace this emissive within our torches. So we're going to go into the assets folder. We're going to get ourselves material material instance, and then we're going to just simply find a charcoal charcoal instance. We're going to replace these two just like we did previously. Replace, select a larger name. So delete. There you go. Now we're going to, of course, change it up for the base material. We're going to open up the Charcoal, and we're going to. And I think I've forgotten how to I think I forgot to rename the material by the default one. There I go that's the PVR missive. Actually, I did not forget, so that's good. So now we can just simply access it as search for emission, PVRsive. There you go. Let's go ahead and select that. And I think by default, it's going to give us the right type of a look. Although, of course, these textures aren't set up properly, so let's go ahead and take that opportunity to set it up nicely. So we're going to search for if I'm going to be able to find it scrolling through all these different textures, that's going to be dungeon charcoal. There you go. Let's go ahead and open it up and put it to the side and replace every single one of them like so. Emission already had its own texture applied actually for me. I don't have to worry about that too much. Acity. There's no need for a facity and there you go. So we're going to get this sort of result. So now, if we were to enable emissive and if we were to just move it up and down, we can see the type of a globe we're going to get out of our torches. I think for now, we can leave it as stand. I think that's going to give us just the right kind of a result for this entire torch. And actually, I've been thinking that we might get away with applying it the same type of a texture for these candlesticks for the flame. So let's go ahead and try that real quick, actually. I'm going to simply get into the texture for charcoal. Just going to search it over here. Charcoal instance. There you go. I'm going to try to replace this with the one over here. And see if this would actually look nice or not, and it doesn't look quite as nice. Let's go ahead and get ourselves a nicer type of a basic flame for the shape. Instead didn't look quite right, thinking that maybe we should keep it as a single type of an emissive color. So for us to do that, we're actually just going to create ourselves a brand new material and just attach a simple value of emissive texture. So let's go ahead and do that right away. We're just going to right click, get ourselves a new material within the materials folder, that is, we're going to call this simple emissive. Like so. And we can double click on it. Then we're going to hold free, and we're going to get ourselves vector free. We're going to attach this to emissive color. And actually, since this is a implicit type of a light, we don't even need to use any other ones in regards to the base color and tonome actually going to open up the properties for this material, and I'm actually just going to turn off the default lit and change it to lit this way, we're only having ourselves an emissive color. And Instead of just connecting it, like so, we're actually going to also get ourselves a strength value as well for it. So we're going to hold S. We're going to tap on the screen. We're going to call this one strength. We're going to hold. We're going to get ourselves a multiplier, and we're going to attach both for these just like that. And of course, we're going to attach this to a missive color. Now, vector free is not set as parameter, just yet, so let's go ahead and right click. Let's start not start preview sorry about that. Let's not do that. Let's go ahead and convert this to a parameter and call this one color. Just like that. And, yeah, that's all it takes. We're going to click control on S to save this. We're going to close this down, and we're going to right click on this to create a material so we'd be able to have control over our basically emissive texture. So now I'm thinking that we could also call this one flame since the previous material was called flame. So let's go ahead and call this flame instance. Like so. That was not spelled properly, we just go ahead and correct that. Just like that flame instance. We're now going to go back onto assets, get ourselves to material material instance and see where the flame is located. There you go. We're just going to replace flame material with the flame instance and replace There you go, consolidate delete, and we're going to get the result. Now, because we didn't set up the material just s is going to be plain black. So we're going to open this up. We're going to enable strength and color. We're going to change the color to a nicer brightish type of an orange color, and we're going to increase the strength, and that's going to start bringing up that kind of a lighting art of candles. So that's going to look quite nice actually. Let's go ahead and close this down. And that's all it takes in order for us to set up ourselves nice candles. As for the torches, though, it's going to be a little bit different, and we will be needing to set ourselves up with the blueprints and certain particles. But I think we're going to start on doing that in the next lesson. So thank you so much for watching, and I'll see you in a bit. 150. Setting up Fire Particle Animation: And welcome back in front to Blender and the real engine become a dungeon prop artist course. In the last lesson, we left it off by setting up some of those nicer emissive texture maps for our candles and for our torches. But the torches aren't going to look quite as nice they need to have more intense type of the flames, so we're going to make use out particles in order to make them a little bit better. So for us to do that, We're actually going to go back onto a resource bag, and there's something called fire subdivision within Textures folder. So if we were to go onto unreal engined fire particle, we're going to bring this in, and actually, we're just going to get ourselves a new folder for that. So I'm actually going to go back and take off material material instance. And instead of underneath the assets, We're going to create a new folder called particles. Let's go ahead and right click. Create cells a new folder, and we're going to call this one particles that we're going to open this up, and we're going to, of course, drag the fire subdivision into the project, the texture file. So we're going to have ourselves this type of a texture that we're going to be able to make use of within our particle system. Now we have ourselves a texture, we of course, need to create our elves a particle system. So we're going to make use of a Niagara particle system to create fire. We're going to right click, we're going to get ourselves Niagara system, and we're going to start with a new system from selected emitter. We're going to click next, and we're going to start off with a fountain. Since that is the type of a texture that I prefer to start working from within particle system. We can click plus symbol, which will add it to our emitters over here. We can click Finish, and we're going to get a nice result. For the naming, though, we can call this flames. We can double click on it, and we're going to get this result. Now, if I was to maximize this entire window, we can see the type of a particle system that we're having and right away, we get ourselves a preview on the left hand corner. We get ourselves a graph similar to that one of a material, and we get ourselves at the bottom and animation that keeps looping in or all of those particles. So for us to start off, we're going to basically start by taking off all of those additional forces that brings all those particles flying over into the air and then coming down. So within particle update tab, we're going to take off gravity force, which if we were to take it off, is going to end up spewing all the way to the top. And we're going to take off, of course, the velocity force, which actually ends up getting spawn right away with the particle itself. So we need to take that off first, which is going to be within particle spawn. So if we were to take this off at velocity, we're going to get all of the particles placed within one area. I'm actually just going to zoom in like so, and we can see the type of a result that we're getting. Now, by default, the particles are just going to be circles, and they're going to give us this sort of a result, which is, of course, what we want to make sure that we're making use of the fire subdivision texture, which will give us a nice animated flame for our system. So we're going to actually go into the renderer. We're going to select fire sprite renderer, like so. And we're going to be changing up ourselves the material for it. And I just realized that we actually forgot to set ourselves up with a material fora. I'm actually just going to make this window much smaller, and I'm going to create ourselves material real quick. So we're going to right click, cut ourselves a material, so, and we can call this fire material or fire particle material. So. We can double click on it. It's actually going to be super simple and easy to set up. We're just going to drag this and drop it into our material system. We're going to change our material to be used with unlit mode, just like we did for our candles, so we'll only be using a missive color. And we'll need to set up some additional controls to be used with this entire setup. So for us to be able to control particle system, we're going to need something called particle color. We're to search for it, like so. We're going to get ourselves particle color. Let's go ahead and add this to our material. And this will give us this sort of result. And we haven't talked much about RGB type of channels, but basically, we get ourselves RGB channel at the very top. Then red, green, and blue are basically split up versions of that initial one. And finally, the last one is going to be Alpha. So Alpha is the one that will control the opacity for us in our particle system. So we're going to make use out of that in order to just basically control opacity for our material. But We're not quite there just yet. We don't have the opacity set up. So what we need to do is firstly, we need to open up ourselves to material properties. We're going to change the blood mode from opaque to translucent, and this will open up the opacity that we'll be able to control over. So, right away, we're just going to attach this bottom bubble onto the opacity like so from Alpha opacity. And this will allow us to control the pacity of the particles. Then afterwards, we need to make sure we're able to mix up the RGB and the color of the particle system to be able to control from the system itself this type of a texture. So we're going to hold, and we're going to get ourselves a multiplier, and then we're going to attach these both legs. And we're going to finally attach this to amsive color. So now that we're done with this, we're going to get this sort of a result. We're going to hit control and S to save this out, and we're going to close this down. So we're going to now go back onto our Niagara particle system like so, and we're going to go into the sprite renderer and change this material to be fire, which was fire particle material. There you go, were to change it. We're going to get ourselves this sort of result, which is going to basically spawn multiple particles at once in our scene, and that's not exactly what we want. So what we're going to do is we're going to firstly tell how many frames there are within this type of a sheet. And if we were to look at it, if I was to open it up, so to just have a glance at it, it's going to be six by six, which means it's going to be 36 frames, which means it's going to be 36 unique frames. So we can go into this particle frames editor and then change this up. So first to change that we're going to make use of the sub UV type of a tab within the sprite renderer. So this one over here, to open this up, we get ourselves the sub image size, and that's going to be just as we said, six by six, and it's going to give us this sort of result. Now, it's only spawning one frame at a moment because we still haven't animated it yet. So of course, we need to get that sort as well. And so for us to do that, we're going to go into the scale color, sorry, not the scale color. We need to add ourselves to a particle update first that will allow us to animate it. So we're going to click on this plus symbol over here for the particle update. We're going to search for sub sub UV animation. So this one over here. Once we add it, we get our sells a couple of options to choose. So since it's going to be six times six, we need that end frame to be as 36, since that is the total number of the frames. And it's still not giving me the right type of results. We're just going to look at what's happening over here. So sub UV size is going to be six by six. I'm going to try to enable some BV blending. That doesn't seem to work out anyways. And so I'll just go real quick into the spawn rate just to lower down the spawn rate so we could see exactly what's going on within our frames. So within a meter update, I'm going to click on the spawn rate and then change this to one, which will give us this sort of result. So we are actually we are getting the right type of animation out of our type of texture. But I just realized that we got to add an opacity directly from the texture itself. We need to make sure we do that. So we're going to go back onto the texture and get that fixed real quick. I actually have on the top left hand corner the step four particle material. I'm just going to go into it real quick and simply get ourselves this opacity mixed up. With the texture itself, since that is what's needed. And actually, think about it, since we are mixing up this information into opacity. We don't even need to apply this onto a massive color. It's going to give us the right type of result regardless. So I'm thinking we can just take off this multiplier and then get ourselves a new multiplier and then attach this to a A, this to a color or this to an alpha, like so, and this two opacity, and this is going to give us the right type of result there you go. So as for the emissive color itself, we're just going to directly attach it like so, and now we're going to get this sort of a look that is exactly what we need, actually. We'll be able to control the color from the particle color, and we're going to get ourselves a nice opacity out of this. So we're going to click control and S to make sure it gets supplied. Then we're going to go back onto the fire particles, like so, and now we're going to get these sort of flames that are being spawned. So they're looking quite nice, but there are multiple problems that we're facing right now because we're using the template from the fountain. But I'm thinking that we might be able to get that sorted in the next lesson, since we still have some bits to sort out in regards to tweaking the values and colors and the way they're being spawned basically within our world. So we're going to be sorting that out in the next lesson. So thank you so much for watching, and I'll be seeing in a bin. 151. Creating Fire Particles: Hello, and welcome back everyone to Blender and Unreal Engine, become a Dungeon prop artist course. In the last lesson, we left it off by setting up the nice animation for the fire. But we're not still quite there yet because the fire right now is being spewed all over, and it's just a wide type of a flame. We need to get that fixed right away. So we're actually going to go into initialized particle. That's where most of the main settings for the particle are. We're going to open this up, and there are a bunch of settings for us to pick from. So for us to change the rotation of the sprite particles. We're going to change it up within this area over here, which is where it says on the right hand side, sp random mode. If we were to click on it and select a different one, so we're just going to set as set. Let's go ahead and see how this would look like. And there you go. We're just going to straight up spawn this type of a particle, and just going to give us a nicer type of a result. So that's going to give us a much better type of a look. Now, we also have a color to consider. So that's going to be underneath the color over here. If we were to click on this box, we're going to be able to set ourselves with a nicer type of a look for the color. So we just want to get ourselves a red ish type of 18th. I think that's going to be quite right. There you go. That's going to look quite nice. In regards to the value, if we were to set this to ten, we're going to get ourselves a really nice type of a globe. So recommend you just by changing this value 1-10, you're going to get a more emissive, a more glowy type of a fire. So if you want to get yourselves a hotter fire, just make sure to adjust that and basically type on it and increase it manually instead of just dragging this up or down because you can by dragging it, you can only do it up to one. So I think, I'm just going to actually change this to a value of two. It's really hard to say within this location within the setup. So I'm actually just going to make this window smaller real quick and put this Niagara system next to the torches. So we could visualize how they look like better if we were to set this up, and I'm going to click G in order to get ourselves out of the game view. And I'm actually I just realized within the game view, we need to take off the collisions as well. They now, we're going to see it properly. And just by looking at it, I think the flames are super small. So whenever we're placing it in the world, it's really hard to say from the scale of the particle editor if they're right size or not. So let's go ahead and write away. We need to change the scale for these flames. So within the detail stab, I'm actually just going to reposition this detail stab. So we see the entire graph and the selection the TTL stab for it. We're going to select the initialized particle, and within it, We're going to find ourselves a uniform prate size minimum and maximum. So we need to have a certain amount of variation within our flames of is to go to look as organic. But this default is obviously too small. So I think I'll just start by setting both of them to 50 just to see how they look like. And this is already looking much much nicer in regards to that. But I'm just wondering if it's a little bit too much. Maybe I'll change the minimum size to something like 30, and I think that's going to give us go that's going to give us a much nicer type of a result. Now, as for the fire itself, I think by default, this is a little bit too much of an orange color. So I'm actually just going to go into it and I'll try to change this to a value of one. Yeah. By default, it's not going to look quite as nice, so I'm just going to keep this as two, and I'm going to make this bit more red, just like that. I think that's going to look you go. That's a little bit too red though. I think I'll just put it like so. We are trying to match a certain look to the charcoal basically texture. And yeah, I think that's going to be quite right, maybe a little bit more towards red. There you go. Yeah, there you go. I think that's looking good. Let's go ahead and click Okay. Now, we can also adjust in regards to the animation to how long they last. If we were to change lifetime minimum of the maximum, that's going to adjust how long the particle lasts. But the thing is, when we're adjusting those, the animation for the particles are also going to be increased. So if we were to set both of these to ten, like so it's going to basically be really slowed down type of a frame rate. If we were to set this to 0.5 to both, like so, half a second basically is going to be a really fast type of a flame in a fume ish, but we don't want this to happen. So when adjusting these, we need to consider that sort of a thing. So setting this up 1-2 is going to give us a right type of look. Some of them are going to be slower, some of them are going to be faster in regards to spewing them out. It's already looking pretty good. Now, we also have something called shape color, which we need to adjust in order to make sure that they spawn properly because right now it's being spawned a little bit, if I were to put it right in the position of a porch like so. So they're placed right in the middle. But they're still not being contained basically because they're spawning up and down and whatnot. Basically, that's where we need to change up the shape location of basically the spawn area. By default, it's set as a sphere. If we were to change this to something like 50, you can see what is happening and they're basically going to end up spawning all around in this sort of a look. Which is not what we want, obviously, we want to lower this down, so think by changing it to a five, we might get ourselves. We're going to get ourselves a much nicer type of a consistent look coming out of one spot. Maybe we'll try eight. Now, I'll set it to six. I think that's going to look a bit better day ago. That's looking much nicer in regards to that. So now, once we have a set. So, we of course need to blend in the previous spawn particles with the newer spawning particles. And so for us to do that, we're actually going to make use of the scale type of a functionality within update particle. If we were to click on it, there is a control on our Alpha map, and by default, it's going to have a scale Alpha which we'll start off and it'll just dwindle down. But we're going to just change it in a simple kind of a manner. We're going to make use of of this and set it up to a simple ramp, so it'll start from zero in regards to opacity. It'll make it more visible and then it'll dwindle out again. So by just changing this to a default ramp up down by going up and down, we're able to get a much nicer type of transition for the flames. So now I'm just wondering if we actually have enough flames or not in this kind of regard by going back to the spawn rate and changing this to something like ten, maybe we'll get a much better type of a look. But I think that's a little bit too much in regards to that. We're actually looking at it. I think we are having a little bit in regards to the scale. I think it's a little bit too large in regards to certain particles now that I see multiple of them at once. So I'll go back to initialized particle and change the scale to be up to 40. I think that's going to be, I think that's going to be much nicer in regards to that. Now, I'm just going to go back to the respond rate and make sure that this is not too much. Something like five maybe or actually that's still too much. I think by changing it to two, I think the idea ago, by changing it to two, it's going to give us a much nicer kind of a look. So, yeah, that's how you set up a very basic type of a fire particle, but we're not quite done just yet. I think we should add some fire ambers as well just coming out of this blame. And for us to do that, we're actually going to set ourselves up a basically emitter within this particle system. I'm actually just going to open this up because now I know that the size for this particle system is going to be just right. And I'm going to within the graph itself, I'm going to right click and I'm going to add an emitter. And for this emitter, we can make use of the fountain again. And it's going to give us this sort of a look, which is obviously a little bit too much. So we're going to start off by taking off the spawn rate by quite a big amount. We're going to set it to ten, like, so that's going to look much nicer. And we're also going to make sure that the spawn rate is set to be 0.25. This way, it'll start sewing every once in a while those type of particles, but it doesn't mean that it's going to have a consistent type of a flow. So it's just a more organic randomized type of a way to check out other particles that being spewed, basically. And of course, we need to change the way the velocity is working right now because it's just way too fast with the way that's being spewed out. And actually, before doing that, I'd like us to change the initialized particle. We're going to go into it, and we're going to change the color. We don't need to change the material. We just need to change the color basically to get a really nice type of a result. And I think if we were to just change it to kind of pure red, going to give us a nice type of a look. And we're going to change the scale for them as well. We can change this to two and four. I think that's going to be quite all right. There you go. Of course, still peeing out a little bit too fast up in the air. But before doing that, I think we should probably change the shape location. We're going to increase this to quite a large amount. We're going to change this to 20. Let's go ahead and see how this would look like. Yeah, 20 is the way because we want to make sure that it kind of goes out of different areas of the flame. Now, for it peering out so far up in the sky, we need to change the velocity basically for it. By default velocity is set to 50080050, we're going to set this to 100200 perhaps. And actually we're also going to turn off the gravity. Let's go ahead and do that because there's no need for gravity at the moment. We're going to turn this off and we're going to see how this would look like. Okay. And I think that's looking quite nice. Although, I think we need to make sure that they kind of slow down faster when they're getting spewed out of. So for us to make sure that they're not just kind of flowing off too fast after they're gone out of the fire, we're going to go into the drag particle update Os and we're going to change this to value. Let's try 2.5. And they're already slowing down quite a bit. We're going to try setting it to one. There you go. Just by doing that, we're able to get ourselves a nice result. I just want to see how it looks like in regards to the torch itself. So it's looking quite nice, but I think they're lasting a little bit too long, so we need to also have certain variations where they disappear straight away. So for us to do that, we're going to go back into initialized particle. We're going to change the lifetime minimum to a 0.1 and maximum actually, we're going to keep the maximum I is. I think that's going to be quite all right. And also, we need to change the scale color to be a ramp for the Alpha. Section, which is going to give us this result. Now, we're pretty much done, but one more thing that we need to do out of these ambers is set ourselves up with a bit of a randomized type of a motion so to do that. We're going to click on particle update, and we're going to search for noise. So we're going to get ourselves vector noise force, and there's a force amount by simply increasing this. We're just going to get this going all over the place basically, but we don't want this to be too much. Let's go back to default value and see how they look like. Maybe it's a little bit too much, so we're going to set it to 100 And I think 200 was right, but I think the speed initial speed was a little bit too much. So going back to add velocity, going to change this minimum to 50, and some of them are going to be slowing down, but some of them are still going to be quite fast, and that randomized kind of motion is going to be really, really nice. So now we can click control and as to save this and close down this window and see how the fire looks like, and there we go. There we have it. We have ourselves a really nice type of a flame coming out of the storch and we can duplicate it to an flame to another torch to see how it looks like. But, yeah, that's going to be looking real nice, actually. In the next lesson, we're actually going to set up some light flickers using blueprints. So thank you so much for watching, and I'll see you in a bit. 152. Setting up Light Flicker Code: Hell, welcome back everyone to Blender and Real engine, become a dungeon Pop art discourse. In the last lesson, we left it off by setting ourselves with some All, welcome back everyone to Blender and then real engine become a dungeon prop artist course. In the last lesson, we left it off by setting ourselves with some nice particles for our torches. In this lesson, we're going to continue on working with them and actually set up some of the nicer light sources to be glowing up and actually ensuring that it'll light up our environment. For us to do that, we're actually going to start off by creating ourselves a blueprint. We're going to right click and we're going to get ourselves a blueprint class. So within it, we're also going to start off from the empty actor, like so. We can call this one light for now. So, and we can double click to open it up. So within it, we're going to get ourselves an empty project. But of course, we don't want an empty project, we want to get some light from within it. But just having it straight up a light source is not going to do quite well because if we were to have a prop, we want to make sure that it gives us right kind of reflections of shadow. So firstly, what we're going to do is actually, we're just going to drag in one of the torches, and then we're going to start from there. So let's go ahead and minimize this window. I'm just going to make it quite a bit smaller. I actually go a little bit too big. So I'm just going to do it like so. I'm going to put it on the side. And yeah, we're going to make use of the one that's more decorated. So let's go ahead and find it within our tab. So I'm just going to select it, and I'm going to actually just right click on it and browse to asset, like so. And of course, it's going to be this one over here. So now we're going to simply click and drag and then drop it into our place. And now I'm actually just going to go back to the previous folder, which was the particles like so. So now we have ourselves a blueprint class, and we're just going to place it in our world. And I think we're going to start off by actually just rotating it slightly so to be facing it sideways. So I'm just going to select it within a blueprint and think it's going to be this way over here, so we're just going to rotate this legs. So this way when we're sticking it to walls and stuff, it's actually going to be stuck properly. I think that's going to be much better in regards to that. So the next step that we want to do is, of course, we want to get ourselves a light source. And for us to do that, we're going to start off by actually, I'm just going to maximize this window over here. We're going to start off by getting ourselves a new component. So let's go ahead and add that, and we're going to search for light. And we have all the basic type of light sources, but we'll want to use point light, since that's going to be the best one for the torches. And by simply attaching it and then we're going to make sure that we have selected, we're going to move it to the very top of our torch. And actually, we're going to leave this torch stuck with a phone light because now once we move the storch if we want to rotate it in the future, adjust that. The light is still going to be attached to that direction. So that's going to be much easier for us to work with. So I'm just going to make sure that the light is positioned right in the middle of where we want it to be. So around this location, like so. Now, if you notice, we have a bunch of shadows, so we'll firstly want to fix that. And actually, the light is quite white as well, and it's quite glaring. So I think I'll just change up the light color right away. So for us to do that with the light el selected, we're going to go on the bottom right hand corner, and we're going to change up the light color, like so. We're going to just make it more orange, more reddish, like so. Click Okay. And yeah, I think that's going to look quite nice. But of course, just by having it, so it's not going to look like anything is burning up, and we want to get that fixed as well. So for us to do that, we're going to make sure we set up our code. But let's go ahead and fix the shadows first. That's going to be within the source radius. So by adjusting the source radius, we're going to be able to basically fix up the way these shadows are behaving. And For us to do that, I personally recommend you to make this window smaller. Again, just so we can see how it looks like because as you can see, it also affects the way the shadows are behaving within our world. So basically, we want to look at the way they're kind of giving us those reflections and we want to soften them up. So sort radius is just going to basically affect the scale of our radius. If we were to start scaling it up, we're going to see a yellow type of a circle. And once we start scaling past the limit, we're going to basically soften up those shadows. So we can start off by just getting it to a value of something like 300. I think that's going to be quite a right. We don't need have a lot of shadows in regards to this type of a torch. I think that's going to be quite right in regards to that. Let's go ahead and maximize this window back since we know it's going to be quite right in regards to the source radius. And let's continue working on with the actual light flicker. So for us to do that, we're actually going to go from the viewport. We're going to go into the event graph. And from within it, we're going to start on getting ourselves a code that will begin playing on once the entire level begins Playing. So Paideia, we're just going to drag ourselves from this red box over here, which says event begin play. We're going to drag it out, and we're going to search for a timeline. Line. There you go. We're going to add a timeline. So when we end up getting dragged this out, it automatically starts enabling this because otherwise it is disabled until we start using it. So we can keep the name as at the fault. We don't need to rename it, but basically, once we start playing, it's going to start playing this event. Which is exactly what we want, but it's not quite there just yet because we want to make sure that it loops constantly. The timeline if we were to double click on it, we can see what it is. It basically has a length of 5 seconds. I it replay this event and then it would stop. So event graph, if we were to double click on it, we'd be able to add tracks and whatnot, and by default, is set as 5 seconds. But we're going to leave it is there's a lot of choices and things we can do with a timeline. But for now, all we got to do is basically just set ourselves up to be playing this type of a timeline and at the same doing a certain amount of and at the same time doing a certain action. So for us to do that, we're going to get ourselves an update, and actually, we'll want to do a couple of things within this blueprint. So we're going to make use of a sequence. We're going to drag it out from an update, and we're going to search for sequence. Like so this will allow us to basically get us a sequence that will basically allow us to do a couple of actions at once because we want to set up the value for an intensity and we want to be constantly changing the intensity at the same time for the brightness of a light basically. Now, the first thing that we are going to do is, of course, set up the intensity of that light to make sure that it gets changed. So if we were to do it by default, it's just going to instantly change that and we want to have a certain amount of wait time. So for us to do that, we're going to start off by getting ourselves dragged out from then one, and then we're just going to release it. We're going to search for delay, which will help us to basically delay the code and give us a certain amount of wait time. As for the duration, though, we want to make sure that this is randomized actually. So each wait time would be more randomized and each flicker would basically be changed in a random kind of a pattern. So for us to do that, we're going to drag it from a duration. We're going to search or random in range. Random in range. There you go. We're going to select this, and we're going to get ourselves a value. Now, the value that we're going to use is going to be from quite a low value, 0.08. And the value that we want to change it to of a max. We want it to be 0.13, and this will give us a nice amount of variation between those two, but it's still going to give us that short type of a flickor that will start changing the values. So with that done, we also now want after the delay, we want to actually start changing a value. But before that, we actually need to set up ourselves a flow value for it to be changed. Firstly, first to do that, we're going to go into a bottom left hand corner where it says variables. We're going to add a new variable like so. And we're going to call this one intensity, just like that. Now for us to be a nice float value, we're going to change it from bullion to a float, like so. Now once we have this intensity set up, we can finally go ahead and click and drag and drop it into a blueprint and we're going to get a set intensity value like so. So now, every time this code is run after a certain amount of delay, it's going to start setting up a new intensity. As for the intensity itself, we're going to want to make sure that we also set up a random moot value. We're going to drag this out from intensity and we're going to search again for random load in range. Let's go ahead and use the same type of a note that we had previously, but we want to have an intensity 200-1 thousand. I find that to be quite a good value for us to start off, and we can change that in the end afterwards, anyways, that's going to be quite right. Now, once we have this set, we basically are done with this end, but now we want to make sure that we're constantly changing an intensity, and we could be dragging it from here to be honest, but I find it that it works best if we were to be having a change intensity just straight up changing it without any delay. So we're going to do that actually. And we're going to drag it out from the sequence that we set up previously, we're going to drag this and release this and we're going to search for set intensity. A actually sorry about that. We're not going to search for set intensity instead. We want to make sure that it is set from a point light, so we're going to set it up properly by simply dragging it from a point light so onto our blueprint. Now, once we drag this from a point light just like that, we're going to search for set intensity. Like so, and it's going to give us this for a light component. We're going to select it, and we're going to get ourselves a nice node coming from a point light, which will allow us to now attach this to our sequence and basically constantly be changing in intensity as for the intensity value itself. We want to, of course, use the intensity flow that we had previously. But we want to make sure that we're kind of applying the previous result that we had on our intensity and kind of mixing the values together. So this way, we'd be able to also control the value of intensity with going back to the light point and then changing it up. So this is just going to give us a nice variable basically. And so for us to be mixing the intensity up with our previous value. What we're going to do is actually we're going to drag this out outwards, and we're going to search for intensity. So we're going to actually get intensity from the light source, we're going to get this original intensity. We're going to now basically mix it up with the help of a l value. We're going to drag this out and search for lp or linear interpolate. Interpolate We're going to search for Lp. This one over here. We're going to attach this and, of course, now it's going to attach it to an a value, the original value, so we're going to mix it up with our intensity float value, which we can do so by dragging our variable of intensity into this area over here. We're going to get intensity out of it, like so, and we're going to attach this to a value of B. As for the Alpha, it's going to basically tell us how intense of a change we wanted to get. The lower the value, basically, the more of it intense, it'll be if we set it to one, it's going to be flickering quite widely, but if we set it to a value of 0.8, it's going to give us a much nicer type of result. So let's go ahead and leave it as 0.8. We're going to set this to a new intensity like so, and now we're going to click Control and S and see how this would look like. So now we're going to click Play, and of course, we are going to get ourselves an error because now we need to not simply just hit play, we also need to make sure that it is compiled. Once the arrow is set green, we are basically ready to go and we can click. And that's still giving me an error, so I'm just trying to see what is happening with it. I'm going to maximize this window, to make sure it is compiled. It is compiled. It's showing that it's ready to go. I'm not sure what's happening with that. I just want to make sure it is set proper. It seems like it's proper wondering what is going on. And I'm going to just close this blueprint down real quick. Going to delete old one, bring it into the world, see if that's going to cause an issue. Lay an editor. Yeah, playing an editor, I had another blueprint opened up actually because I wanted to get a nice reference. But basically, as you can see if we go over it, it's going to start flickering. Now, if we move our character next to the torch. Like so. And hit play. We can see that the code is running, and we're going to get ourselves a nice type of a light flicker out of this. So, one thing that I left off is that right now because the timeline is set up in a way that's just going to run for 5 seconds. It's not going to continue on playing it. So what we need to do is actually, we need to go into the timeline like so. And there's a small button called loop. So by enabling this, we can close this timeline down. We can see that this is now set as a loop. And now, if we were to close this down and hit play, it's going to actually start flickering and it's going to continue on doing so. So it's going to give us a really nice type of result. And that's all it takes in order to set up. And that's all it takes in order for us to set up. And that's all it takes in order for us to set up a really nice light flicker. We haven't set up a blueprint for the torches yet, but we're going to do that in the next lesson. So thank you so much for watching, and I'll be seeing you in a bit. 153. Setting up Candle Blueprint: Hello, and welcome back on to blender and then real engine become a Dungeon prop art discourse. In the last lesson, we left it off by setting ourselves with a really nice light flicker for our blueprint. And in this lesson we're actually going to continue on and apply the rest of the system, the Niagara particle system, as well as setting up the rest of the light sources for our scene. So for us to do that, we're actually going to start off by opening up ourselves with the previous blueprint that we've created for the torch, and we're going to bring in into the viewport the particle system that we had set up previously. So I'm actually going to make this window a bit smaller. I'm just going to click and drag and drop the flames that we had set up previously into this world, like so. And we're going to attach this flame into the dungeon prop storge asset like so. So it basically would be in the same position even if we were to rotate it. We're going to put this in here and I'm going to make sure that it is set up nicely to the center of the torch. I think that's going to be quite right, like so. Let's go ahead and check out it looks like in an actual level. I'm going to click G just to make sure that it looks nice from different angles. I think that's going to be quite right. Okay, so now that we're done with this. We can go ahead and click Control and save and save this out. And all we're going to do right now is basically going to close this down. We're going to make a duplicate out of this blueprint like so. Click Control D, and we're going to have ourselves light one. And actually, I'm just going to rename the previous one to touch one because that's going to be a bit better. Torch one so. And this is going to be the second one is going to be torch two. So I'm going to click two. Torch to. Now we're going to open this up, all we're going to do basically is just change our torch. We're going to right click on our torch selected browser assets and we're going to get it within our contents. We're going to drag this into our world. We're going to now maximize this window. Once we import the torch, we, of course, now need to change up the point light and flames to be a spot of the storg. So we're going to grab the point light and flames and just attach it onto our torch, like so. And now, it should be set they attach differently from the Over torch as well. Just make sure it is. And then afterwards, We should be able to just grab our old torch and delete it. And now that we've done with that, we're going to select the point light and flames and quickly readjust our area for where they are. I'm going to click W to go into transform mode. I'm just going to position it like so. And that's going to be quite right. And the camera is a little bit too fast. I'm just going to scroll my mouse wheel in order to slow down to get fine tuning while moving the camera. So just scrolling mouse wheel while I'm moving and going to get a much smoother type of a motion. And with it, I'll be able to position. I think that's going to be quite right, actually. Anyways, once we're done with that, of course, we're going to select the torch, and we're going to rotate it slightly, so give us a nicer type of a result. I think it's going to be just by a little bit. It's going to be quite right. So now we can close this down and see how this would look like. We can bring it into our world. And actually, I'm just going to grab both of them and just bring it up like so. And I think they're going to be looking quite right. Maybe we need to put them, sorry, that's an old torch. Let's go ahead and delete that. That's not the one that we want. We're going to grab the blueprint that we had previously, brows asset to go back. And I just realized we're actually putting this into particle folder it'd be best if we'd have it within our asset folder instead. So let's go ahead and grab this real quick and drop them into the asset folder, like so, into our left hand corner. We're going to move them like so. And now we should have them if I were to search for them at the very bottom, they should be torched two there you go. Okay. So now if I was to bring this over here, it's going to give us this sort of result. And of course, we still need to rotate it a little bit. So let's go back into the viewport and just rotate it slightly a little bit more. And we're going to make sure that the world position is set proper. We're going to bring this up a little bit as well and just rotate this just a little bit. I think that's going to be quarter right. So the center of the world basically is going to be where the origin point is. And so now if we were to hit control and shave it, we're going to have it like so. So now we're going to be placing it on our walls, and it's going to look all nice. And yeah, that's all it takes in order for us to set them up. Now as for the candles. Of course, we're going to set them up in a similar kind of way, but they already have an emissive type of a shape. All we've got to do now is just make sure that they're set up with a nice light flicker. So we're going to actually go into a blueprint for the torches. We're going to just duplicate them a couple of times. I think we can start off by just duplicate it one. So we're going to click Control D to make a duplicate. We're going to call this candle. One. We're going to open it up, and we're going to now delete the old torch. So we can just delete it right away. I should keep us with the point light and flames. We can now make sure that the candles are set up properly, so we're going to start with the small one, we're going to browse acid, and we're going to just drag it into our world. And now we're going to delete the flames. We don't need the flames. As for the point light, we're going to adjust that a little bit as well. So first of all, the source radius, we're going to adjust that to be 150. I think it's going to be half of that. And then afterwards, for us to just put it in a right kind of position. I think that's going to be quite all right. There you go. I'm actually just going to drag this blueprint out into the open so we could see how it looks like within a scene. So I'm just going to actually make sure that it is saved, click control and save it, make sure it's compiled as well. And now we're going to sell a blueprint class, we're going to drag this into the world. We're going to hit play and just see how this looks like. And it seems like I'm getting some errors. I'm not sure why that is the case. Maybe it's because the previous blueprint is actually not compiled. Go ahead and quickly check that real quick. Actually, we can just select it and click edit in blueprint class, and that's also compiled. So I'm not sure what's going on here right now. I'm just going to make sure that it is saved. And we're going to place the candle in this area, and now we're going to hit play, and it should give us this sort of light. So maybe it's a little bit too intense. So what we can do is just change up the intensity, the default intensity by ourselves. And Yeah, we're going to do that actually. I think it'd be best if we'd actually separate them real quick and lower down the light source coming from the sky. So I'm actually just going to hold control in L, lower the sun to a really dim type of light and just see how it looks like. And that's going to give us a much better understanding on how the light is set up. So I think the candle is actually set up in a really nice type of intensity. But as for the porches, they are a little bit too dim, so we're going to be fixing that up, actually. So for us to do that, firstly, we're going to access the blueprint. So we're going to select the torch. We're going to go into the blueprint, and we're going to go onto the viewport, select the light, and a couple of options that we want to consider. I'm actually just going to click G within a view. And firstly, is the Atenoenian radius. This one is what basically shows how much the light is affecting the outside of the world. And if we were to lower this, it's going to give us a smaller radius. This is going to be controlled through this area over here, Atenenian radius. And I think actually for the torches is going to be quite right. Let's go ahead and leave it. But as for the intensity, it's going to be a little bit different because we now are going to go into the event graph, and we have two values basically to pick from the minimum and max flow range for intensity. So these two values over here that we set up previously. If we were to change the now, we're going to get a much different result. So by default, it was set two as 1,000, which is perfect for the light flicker for the candle, but we're actually just going to double that for both of them, and it's going to give us a nice result. So we're going to click Control S and see how this wouldn't look like. And this is going to look much much brighter. I don't think we need to make it too bright in regards to that because we want to make sure that it is getting a kind of a dim type of a light set up from our sources. And I'm just thinking if the shadow is a little bit too intense for this torch, and I'm actually thinking that that is the case. So we're actually going to fix that up real quick, as well, we're going to go back onto the view port and change the source radius to a larger value. I think we're just going to change it to five 50 and click control and S, click play and see how this would look like. Yeah. I think that's going to look much better. There's still a bit of a shadow coming from these type of ornaments, but it's not going to be too big so I think that's going to look quite nice. As for this one, although it doesn't have ornaments covering the side, it is giving us a bizarre type of a log and I think we can fix that by simply going into it. If we were to select it, close this old one down, it in blueprint, the Aber torch. I think we can fix it by simply moving this upwards, and that's going to give us a much better result. So it was a little bit in side of the area, but even so it is giving us some nasty shadows. I'm actually going to change this two 500 and there we have it. We're going to get ourselves much nicer type of a result. So yeah, let's go ahead and keep this as is. We're going to close this down, and now we got ourselves some nicer torches with a bit of adjustment values. This one is a little bit too low in intensity in regards to that, but we need to change that. We can do so real quick. We can open up our blueprint. We can go to vent graph, and we can change this just double it value, and it's going to give us a much better type of a result. Each value doubled, and that's going to give us a nicer look. Now we're going to hit play. The candle is going to give us this sort a look and these are going to get that sort of a look. Yeah, I think that's going to give us a real nice result. Now, as for the rest of the candles, it's actually going to be super easy to set them up because we already have one candle. Or we're got to do this duplicate this one, two, free, four Extra time. Let's go ahead and do that. Let's make sure we rename it first, select the blueprint class of the candle, make sure to click Control D to duplicate, click Enter, and then we're going to do the same thing, basically control D duplicated Control D duplicated, make sure it's renamed and they go. We're going to have the need to get el final candle like so, and we're going to just basically go into each and every one of them and just replace the original asset. I'm just going to browse asset and it's going to give us in here. That's the asset that we want. We want to just drag this into our scene, and we want to make sure that one, the previous one is deleted. Just like that. This one is going to be this. What did I delete the wrong one? I think I delete the wrong one by accident. Let's make sure we select the right one, so that's a small one, that's a large one. We can delete the large one, and there we go. And of course, the point light, we can just increase its height, and that's going to give us a nice result. Let's go ahead and close it down for the next candle. That's going to be candle free. I actually made a duplicate for here. That's going to be over here. Just going to open it up like so. And, we're basically going to do exactly the same thing. We're going to go into the viewport. And I think if we were to just select this candle over here, we can simply, I think, no, we can't just drag it. We can browse it to our asset like Sos going to give us over here. I'm just going to drag it in going to delete the upper one. Again, that's a wrong one. Let's go ahead and delete it. So make sure that the light source is set up a bit higher, like so. Close down and now move on to the couple of ones that we're left with. So this one over here, again, we're going to just select this candle, make sure it's within our browser, get it into the viewport and put it in like so, and this one is going to be this one over here. Yeah, there you go. Again, the light source, let's reattach it properly. Doesn't have to be complete, doesn't have to be perfect. It just has to be in a position where it's going to just give us a nice type of result. Finally, Candle five, we're going to change that up as well. I'm actually just going to go ahead and grab this one, and that's going to be the large one. So just going to grab it over here to our blueprint and delete the older one. So that's going to be I think actually, I put it into the point light by accident. I'm just going to make sure it's the opposite of that, so I'm just going to do it like so. And delete the previous one. And of course, the point light is going to be much, much higher. There you go. So now that we're done with that, we can go ahead and try out our blueprints. We can put them in our position. And I'm actually just going to delete the previous one. So candle one, candle two, candle three, and candle four and candle five. So going to put these in the back. I'm just going to reposition them real quick and see how they look like. And there we have it. We have ourselves really nice set up for the lights. We might need to readjust the setup for how this is kind of floating in the air. I think that needs to be adjusted a little bit, which we can do so right away, but going into the added blueprint, going into the viewport and just kind of lowering this down. But that's all it takes in order for us to set ourselves up with some nice lighting within our scene. So thank you so much for watching, and I'll be seeing you in a bit. 154. Setting up Presentation: Hello, and welcome back in front to Blender and real engine, become a Dungeon prop art discourse. In the last lesson when we finished up our candles finally and set them up nicely as blueprints. With the right type of liquor and for the torches. We also added some nice particle effects for them. And now in this time, we're going to continue moving on, and we're going to start by getting ourselves some nice rendered videos of like a turntable setup around our assets with an unreal engine. And then we're going to move on and I'll show you how to set them up and prepare them for our projects. So for us to do that first, we'll want to set up the rendering place. So let's go ahead and do that. And now, I'm going to actually just change up the lighting because it was a little bit too dark when we were working with the lights with the light flickers, and I'm just going to put them a little bit more to the side like Sofing that's going to give us a really nice type of lighting. So for now, I think it'd be best if we were to just get ourselves a simple type of a platform, that's not going to be just a grid. I think that's going to look much nicer in regards to the setup. So we're going to make sure that we set that up. And I'm actually just going to place it outside within our content folder, this material. We're going to right click. We're going to create a material, and we can just call this platform. I'm not going to have it as part of the prop pack when we're exporting it out to be used for our scenes. But we just want to make sure that we have a nicer render. Yeah, let's go ahead and open this material up. We're going to simply get ourselves a material color. We're going to hold free, we're going to just drag this inter base color, and I think we can also set ourselves up with a roughness value. So we're going to hold S and we're going to tap and we're going to call this roughness like so. Basically, yeah, we just want to get ourselves a nice parameter value. We're also going to change this the color to a parameter as well. We're going to call this one a simple color. And I think that's all it takes for us to set ourselves up with a nice platform. Let's go ahead and close this down. It, to make sure it applies properly, then create a material instance, and this way we'll be able to drag this directly into the platform and get ourselves of a result. Now, by default, of course, it's not going to look quite as well, actually I think for doing that, I think we should probably delete the previous Yeah, we're going to delete a couple of previous torches, Justice Tab. But yeah, let's go ahead and work on the platform first. We're going to double click on this. We're going to enable roughness and color, firstly, we'll want to change the roughness value. We'll start off with a value of 0.6. I think that's going to give us a nice result. As for color, we can set it up with a bit of bluish tint, not too much though. Something of this sort. I think that's going to be quite right. Like so and maybe you lower the saturation No. I think we need to increase saturation actually there you go. Let's go ahead and click. Yeah, basically get ourselves a nice platform, but of course, it's going to cut off right at the very edge. If I click G, we can see them without ide lines. It's not going to look quite as nice if we set it up like that. So we're going to select the platform. We're going to change up the scale for x and y values. We're going to change a tool, something like 10,000, something of that sort, something large, basically, 10,000 by 10,000. And actually, I just realized that it's not going to be at the very center of the world. So that's going to be a bit annoying to move. So I think instead of just moving it, what we can do is going to check the very bottom. Yeah, we're going to actually change the location of this one over here if we were to change this to a negative value day ago, that moves fine. So we're just going to set this to -5,002 -5,000 for Y as well, 505,000. And that's going to give us this sort of a result, which is still not quite enough for a value. We're going to move it even further, adding a couple of zeros to both, and there we go. We're going to get ourselves a much nicer type of a result. So now we have a setup like this. We're actually going to position our props a little bit better, I think. We're going to delete the old source lights or static meses from our map since we don't need them anymore, and we're going to make sure that each one of these candles are positioned properly. I'm going to use grid just to make sure that they're properly set up basically and then we're going to work on a bit of a gradient, I suppose, to get ourselves a nicer type of a look out of this out of a render basically. I think that's going to be quite all right. Now, as is, we can delete the torches in the back that we had set up, that's going to be just particles as well, and just going to delete them like so. It's going to be quite right, to position them like so and place them just like that. Now we have ourselves all the props necessary. We're going to also change up the lighting because they're a little bit too dark, so I'm going to hold control in L and just rotate by light until we get ourselves a nicer type of a setup props link. So link that's going to be quiet all right. And just to make them bundled up a little bit more, we're also going to move the sortre devices a little bit closer to the front, just like that. That's going to be much much better. In regards to that. Something like that, I think that's going to be quite all right. There you go. Okay. So now, in regards to the gradient, we're going to actually just move this chair so I think that's going to be better. Okay, we got ourselves a basic set up. We're going to now set ourselves up with a nicer gradient which we were talking about before. Actually if we were to scroll up all the way, it already comes this type of a level already comes with exponential gray height fog. Which we're actually going to make use out of. By default, it's going to give us basically a bare amount of type of transition within the background. So we want to increase that to start off. We're going to do so by just changing up the fog density first, we're going to change it to a value of 0.5, we're going to change it manually, and it's going to give us this sort of result. So by default, the follo out, it just doesn't look as great. So we need to fix that up, and we're going to fix that up by changing up the starting distance. If we were to change this up, like so, we're going to basically get ourselves a much nicer type of a transition in a background, because it basically cuts off the entire fog in regards to where it starts off. So by changing this up, we're able to get ourselves a much nicer type of a look. I think using something of value of $5,000 is going to give us the right type of a result. Or actually, we're going to change this up to a value of $3,000. Let's try that or even $2,000. Let's try that. I think we're going to use the value of $2,000. I think that's going to look much better. So as in regards to the fog itself being this type of color, we can of course change up the color, and that's going to be with the fog in scattering color. If we were to click on it, we can basically change ourselves up with a nicer type of a setup. So I think if we were to get ourselves a bluish type of a tint, we set it up to a lighter type of a color because once we start dragging it down, it's going to give us a wrong kind of a look. It's going to start landing in the colors with the sky. And basically, we're going to make use of this scattering color in order to set ourselves up with a more bluish type of a tint, going to stylize the background a little bit, and it's already looking quite nice in regards to that. So yeah, that's all it takes in order for us to set ourselves up with a nice type of a presentation. All we got to do now is actually just set it up for rendering. But I think we're going to do that in the next lesson for now, though, I think we should instead focus on just getting a couple of them a little bit more position in regards to the composition of our scene. And I'm actually just going to remove these books that I had previously set up and get these ones in closer. Like so. Or I'm not sure if we should even have them. Maybe we should have them in the background. I think that looks quite right, actually. Let's go ahead and keep them I think that's going to be quite okay. And yeah. So in the next lesson, we're going to continue working on setting up a nice presentation for our scene. We're going to get ourselves a nice camera and have a better turntable type of an animation to present it within the unreal engine, and then we're going to export it out as a video. So thank you so much for watching, and I'll see in a bit. 155. Setting up Turntable Render: Welcome back, everyone to blender and real engine, become a dungeon prop art discourse. In the last lesson, we left it off by setting up ourselves with a nice gradient for the presentation. And we're going to set ourselves up with a nice turn table and we are going to render out our entire scene. So for us to do that, we're going to basically start off with setting up ourselves with a nice level sequence. We're going to right click within our content folder, and we're going to search for level sequence within it. Level sequence. Let's just make sure that the mouse is basically set above this because otherwise if we were to have it within one of those stabs, is going to not search for it properly. So level sequence. We're going to get it like so, and we can leave the name. It's totally okay. We can double click on it now and get ourselves this sort of window. So now we're going to use this in order to animate our camera, but we don't have the camera just yet. We need to set that up first. So we're going to click on a plus symbol, and we're going to get ourselves a cinematic type of a camera. This one over here. Now, by default, it's just going to spawn somewhere in front of us. But we want it to just basically position our camera to be in this kind of an angle where it's going to give us a nice type of a rotation. We're now going to click right click on our camera, and we're going to snap object to the view. So this will make sure that it's going to give us this sort of result. And by default, the focal length of the camera is set up to be giving us a really kind of zoomed in type of a look and FO A more cinematic type of FOV, but we want to just scroll that back. So within the bottom right hand corner, with the camera selected, we're going to basically find ourselves focus settings, and we're going to open this up. It's going to give us the current arbiture sorry. We're going to right underneath the focus settings is going to give us the current arbiture and current focal length. And all we're going to do is just change, I think, We're going to change the current focal length, and we can see that in the bottom right hand corner the camera, how it's placed, so we can just adjust this to fit our needs. So I think that's going to be quite a right in regards to the entire setup. So once we're done with the camera setup, we're going to get ourselves a nice type of a look. So we can just move back from the camera, click G to see it within our view. It's going to look like this. So now we want to set ourselves up with a nice pivot type of a point within our view. We're going to basically get ourselves any type of an object and set it up within the world. We're going to you prefer to start with just getting ourselves a sphere. This will allow us to just see where the focal point is going to be when we rotate the camera around, and we basically want to position this right in the middle of our entire setup just like that. Now, of course, if we look at the camera, it's going to show us a massive or bright in the middle. We don't want this. So what we're going to do is basically we're going to with the sphere selected. We're going to search for game. And there's something called actor hidden in game. If we were to click on it, we're still going to see it if we click G. But if we click G, again, we're going to not see it when we hide away every highlighted area. And that's going to be the same for a camera. It's not going to see it anymore, but we can still basically see it within the editor itself. So that's going to be quite nice in regards to adjusting it. We're also going to select this sphere and just call it a focal point. We're going to select this sphere. We're going to click F two with an outline, call it focal point, so. And now we're going to find ourselves a camera. So this one over here. And we're going to drag this camera into the focal point, which I think was, it's going to be at the very bottom actually. So I'm just going to actually firstly, I'm going to just drag it right away, actually, and it's going to be much nicer. So I'm going to click and hold and then drag my mouse wheel and then all the way down to the focal point, going to drop it down. So now, it's going to be attached to the focal point. And if we were to rotate this vocal point, you'll notice that the camera itself is actually rotating, which is exactly what we want. You probably don't want to do it with the snapping mode enabled. It's going to give us a much nicer type of transition, but actually one, it's rotating, it's not going to preview it best in regards to the preview of the camera. Okay. So now that we have it, so we can basically drag both the focal point and cinematic camera into our level sequence. And so we're going to do so just one by one. We're going to drag the camera, and we're going to drag the focal point into it, but as you can see it straight up once we drag it into level sequence, straight up puts our camera view point right to the camera. And that happens because we start up straight away attaching the view to the camera, and we want to disable that right away because we can't exactly move our editor around within the viewport. So we need to make sure we undo that. So for us to do that, we're going to just click on this button over here, which says, unlock cinema camera from Vewport. If we were to click on it, we can now move our viewport freely without actually moving the camera around because otherwise, we changing the position of the camera we don't want this to happen. So now we have the camera set up. We're going to, of course, with the focal point dragged into our level sequence, we're going to find it over here. And we'll want to basically set ourselves up with a nice rotation. So for us to do that, we're going to actually, firstly, we'll want to change the FPS. We'll want to change the timeline to be from FPS because right now it's showing all the FPS, and we want to actually kind of get a better perception of time. We want to change this to be to set as time. So we're going to click on this button over here. We're going to click show time as seconds, which is going to start showing it as 5 seconds. We'll want to increase this range. So we'll start off by changing the working range we can just change it to 100. That's going to be okay. That's going to give us a much larger bar to work with. A very bottom, we can see this small bar. If we're extend it now, we can see a much larger range. So we can set this up to something like 15 seconds. I think that's going to be quite right. So for a city that, we're just going to drag this red bar out. So We're going to position it here, which will allow us basically to tell us our level sequence where to start and where to finish. There is a green bar as well at the very start, but we ould never touch that, so let's go ahead and keep it eyes. So now all we've got to do is just make sure that the camera also ends up in the same position as the red bar. So we're going to drag this as well and put it at the very edge of like so. And actually, I just realized that's 13 seconds, not 15 seconds. So let me just adjust that real quick, like so. It doesn't have to be perfect, but just like that, we're going to get ourselves a much better type of log. So now that we have it, all we're going to do is just make sure that we have a focal point selected. We're going to go to the very front of our line since we want to add a key that will move it around. We want to basically lick on this button over here that says to the front, which we put this arrow at the very front, and now we want to basically start adjusting this vocal point. So for a c, we don't exactly need the entire transformation. We just need to be rotating it around. So we're going to click on this arrow over here to expand it. We're going to now get ourselves location, rotation and scale. We only want the rotation though, and now I think if we were to play around, we can see which one does what, So Ya Ya is going to be changing the way the camera is being basically moving. So by moving this around, we can move it like double one, of course, is going to rotate it differently, but we only care about the last one. So we're going to start by setting ourselves up with a Key for it. We're going to click on this button over here, which will add a key right in the area where this arrow is. Now we're going to go to the very end of our point of our level sequencer. So we're going to click on this button over here and it's going to drop up our arrow to the very. Now, as for a, we can either go in a positive way or we can go in a negative way in regards to the value, which basically just matters in regards to which way you want your turntable to be. But I think for me, the positive is going to be looking much better. And if we were to set this to a value of three 60, it's going to give us the right type of a result. That goes basically all the way around in regards to video and it's just going to give us a really nice type of a look. Over the 15 seconds, it's just going to rotate it like so, and it's going to give us a nice type of a rotation. But by default, the rotation is actually eased in and eased out in regards to the smoothness of the entire animation. So we need to make sure it's actually kind of straight type of a speed. It's consistent with the speed that is, so we're going to actually select both of these keys by dragging our mouse across like so. And we're going to right click on the key, and we're going to change this from automatic to linear. And this will change it so the animation will be consistent throughout this entire turntable, just like that. So we're going to get ourselves a real nice result. So all that we have to do now is just render this out. And for us to do that, we're going to simply or actually, in order to adjust our camera, for example, within this camera. So bottom right hand corner as you can see, it gets cut off a little bit. So I'm going to make sure that the camera itself is slightly more to the back. So all we're going to do is just select the camera now, and make sure that we are set with our local transformation. So this button over here. If we were to click it on it, it's going to change it to a local transformation. So all we've got to do now is just change up this red arrow and bring it back and forward like so, and we're going to get ourselves a much more control over this entire setup. So since we didn't set ourselves up with different transformations for location or rotation, we can move it like so, and it's going to give us a really nice type of a result. And I think I'm going to move it back a little bit and just bring it a click and rotate it like so, and that's going to give ourselves a much nicer type of a look. I'm just going to check in regards to our views, but I don't quite like this type of a view, so I'm just going to bring it up actually a little bit like so. And yeah, that's all it takes for us to set it up nicely. So now what we're going to do is actually we're going to make sure that this is actually rendered out nicely, and it's actually rather easy to set ourselves up with a quick and simple render. This is going to be the button for it. So we're going to click on this button over here to render the movie. We're going to make sure that the image output format is set as AVI. This will give us a nice video off the bat, right off the bat. Otherwise, there are certain ways for an image sequence to be rendered out and we'd be able to kind of stitch them up together afterwards. But we don't need to worry about that, honestly, we can just set ourselves up with a nice video sequence to get ourselves a really nice type of a render. There's no audio. We don't need to be worried about that. As for the resolution, though, we're going to definitely change that up to a ten eight quality. We got to make sure that the quality is set to HD format. So to get a high type of video out of a turntable. As for the frame rate, we're going to leave it as for the frames per second, and there's nothing too much about it, to be honest, there are a couple of extra settings, like in regards to the compression quality. I recommend you leaving this on by default is going to give us the right type of a value. If you were to take this off, it's just going to increase the size of your file of your video without actually giving you too big of a change. So let's go ahead and leave it as is. And then, of course, in general, there is an output direction. So if we were to click on these free dots over here, we'd be able to tell where we want them to be placed. I'm just going to place it over here, click Select Folder, and then for the file name. We can change this to be turntable like so, and that's all it takes for us to set it up. The rest of the setup is actually going to be quite right. There's no need to worry about animation or anything of the sort. But it's not giving me the video because, as you can see, it says, read only output directory. So let's make sure that we are having a directory where we can actually save out the file, and I'm just going to save it within my Dungeons props area over here. There you go. That's going to make it better. And actually, one thing that we're to do is actually set it up with a nicer warm up. So it wouldn't kind of just load in the camera right in the center, which it would usually do if we weren't used to setting that up. So with an animation stab, I totally forgot about that. We need to make use out of this. We need to start the frame with a nicer one. So we're going with a warm up frame count. We can set this up to 60 and it'll give us basically 2 seconds to warm up the entire thing. Now, once we click capture movie, it'll start warming up the thing, which is going to hopefully avoid this type of a setup. Then afterwards, it's just going to straight up put our camera right where it needs to be, and then it's going to be rendering it out. And, yeah, that's all it takes in order for us to get ourselves a nice setup. We can click bottom right hand corner to open up the directory, and within it, we're going to find ourselves a turntable like so. So that's all it takes in order for us to get ourselves a nice video and present our entire pack within a real engine pi. So now, in the next video, we're going to continue on working on the setup of the props to be used for our other assets and our other levels within our project, basically. So that's going to be that. I'm actually just going to close down the sequencer tab over here to make sure it's closed down, and we're going to go back onto the contra browser. And yeah, so, thank you so much for watching, and I'll see you in a bit. 156. Importing Asset Pack: Welcome back everyone to blender and real engine, become a dungeon prop artist course. In the last lesson, we left it off by setting up ourselves with a nice turn table and rendering it all out to preview our work. And now we're going to actually set ourselves up with a pack that will allow us to make use out of it within any type of a project within unreal engine. Now, by default, since we were importing everything and we are left basically such a mess, there's going to be a lot of unused and whatnot. So we're actually going to make sure that they're not getting imported into projects, and we're going to do so by exporting everything out only that's necessary. So for us to do that, We're going to go into our assets folder like so. And within it, we're going to actually get ourselves a filter. We're going to get ourselves a static mesh filter. And not only that, we also need to make sure that all of our blueprints are also set up properly and exported them out with the static measures. So we're going to make sure that we add a filter for that. So we're going to go ahead and get ourselves blueprint class as well. So this will just make sure that everything that is selected is only with static measures and blueprint classes. So it's going to give us all of these props just like that. Now to make use out of them, we're going to actually just click Control and A to make as election for them. And afterwards, all we got to do is just simply right click and then migrate our assets. So we're going to go under the asset actions. We're going to migrate. And this will make sure that not only the assets that we selected are going to migrate, they're also going to be migrated with the assets that are linked to them. So all the textures that we used all of the if I were to scroll down all the particles together, they will also be bundled up in the same file. So that's going to be quite nice for us. So now we're going to click Okay. And we're going to select the folder. Now, in this case, unreal engine prefers you to migrate it to a different project right away to a different content folder. But what I recommend you doing is just set yourself up with a nice empty folder for that. I'm just going to get me dungeon props folder, like so. I'm just going to call this Don props assets. I'm just going to double click on it to make sure it's selected within it, going to click select folder. And it's going to say that it does not appear to be a content folder, and it will only work properly if it's placed within it. But that is totally okay. We can click anyway. It's going to give us the right type of a result. And it's also saying that some selected assets don't have corresponding content root in destination for Niagara, which basically is asking about Niagara folder. But by default, every unreal engine, if you don't disable it will have this enabled for Niagara particle system. We can click No to this. So, now it's going to successfully migrate our entire project. So let's go ahead and check how this looks like, and I'm just going to go ahead and see that one over here. It's going to give us assets and particles folder. So not only the ones that we had, it's going to give us all of the assets like so, and all of the materials like so. So all we're going to do now in order to make use out of it. I'm actually going to go ahead and open up ourselves a new project within Epics games launcher. I'm going to close down the previous one actually. And the one I'm going to use as an example is going to be a dungeon kit bash for the level. I'm going to open that one up. So once we open up ourselves with a project, we're now going to want to, of course, import the assets into this scene. So for us to read that, we're going to firstly locate ourselves this content folder, and we're going to right click on one of the assets or folders, we're going to just simply show it in Explorer, like so. This will open up ourselves with a window for it. We're going to locate a content folder for this type of a project. We're going to go into it. Now as for the one that we just exported out, I'm going to locate myself real quick, a dungeon exported migrated assets that we had. So this is the one that we had previously. So dungeon prop assets is going to give us this. And we basically want to put these into our content folder for this project. So we're going to just simply drag it. Actually, I'm dragging it using my right mouse button, and I'm going to copy it here. We've got to make sure that we keep it so it'd be read be easily re used within our other projects, otherwise, if we were to just move it, it'll be simply lost. So yeah, I'm making sure that I'm making a copy out of it and just putting it here. So afterwards, once we're done with it, we can go back onto our project, and now we have ourselves a assets folder. If we were to open it up, we're going to find ourselves all of our assets that are placed and nicely exported onto our scene. So that is actually quite nice. And then afterwards, all that we're left to do is simply populate our entire levels. So for example, if I'd want to have a library over in this end with some armory and whatnot, I could totally do that. I could delete these previous torches that I had before, within the scene and replace them with the new ones. They are going to be within the assets folder. I got a couple of other assets from the same area, but they're actually going to be nicely set up since now everything is going to be in one folder. So that's going to be quite nice. So I'm just going to search for props, and we're going to get ourselves all of the props needed. Like so. And we can start off by just placing a couple of them in and see how they're going to look like basically. So for this area, if we want some armory, for example, we can totally put these sorts in and they're going to look quite alright. And also, if I want to have some blueprints, I'm going to go open up the blueprint class to see the ones that we had. This is going to be touch one, torch two. I'm just going to place it in the world just like that. This one is actually turned upverwy I'm just going to rotate this around, make sure that the snapping to rotation is enabled, so to be able to rotate this one 80 degrees and just stick it to the wall. This way, we're going to get ourselves some nice torches, of course, we're going to get ourselves some libraries on the edge, maybe on a corner. Or even in this area over here. That's going to look quite nice actually going to place them over here. Yeah having all of these options, having all these props, it's super nice and easy to set them up now so we can just make use out of them and basically play around with them and set them up in any way that we'd like. That's going to be it from this lesson. And then in the next one, I'm just going to show you how to make use of those assets and actually build them up within a scene. 157. Using Asset Pack: He, welcome back everyone to Blender and then real engine become a dungeon prop art discourse. Now if we have all of our assets within a different project, let's go ahead and make use of them and set them up within the scene just so we could go over the entire process. So I'm just going to have a couple of sorts over here as well. Maybe make a duplicate out of these and have some armory like that. Now want like a shield, for example, I'm just going to search for a shield. I'm going to place it at the very side of these like so. That's going to look quite nice. I think we also have a couple of extra options to use. For example, if I want a candle with a table, we can also do that as well. If I were to search for a table, we can put in a table. Maybe that's not the right spot for the table, to be honest. We can put it over on this end over here. I can put it over here. That's going to look quite nice actually. So if we were to put a nice table over here and some chairs. We can always do so just like that, holding to make a duplicate and then grabbing both of them, holding, duplicating it, turning it around one 80 degrees. Moving them like so, and of course, we need to make sure that they rotated just slightly so they wouldn't look quite rigid. By just switching them up, so we're going to get ourselves a much nicer type of a look. So now we want a candle, for example, we can put it over here as well on a table. We can set it up like so, and it's going to make it look so much nicer in regards to this entire area. Now, as for this area, we can have some torture device. And since we had set them up with some nice details, they're going to be interacting with the rest of the world, like so, They're going to have some nice blood covering the walls. This one, for example, I can put it over here, and it's going to give us some nice splashes on the side of the wall as well. Or actually, I think I had a nicer one. In regards to guiltine There you go, if I put it over here on the side, it's going to give us a really nice type of a look in regards to the splashes. So yeah, by doing those kind of extra props and adding it to your scene, it makes it look so much nicer in regards to the overall aesthetics of our dungeon. Okay. And I'm just going to place the sideways, actually, I think that's going to look much nicer like so. So we have a free way of a torture area over here. And then as for this one, this is a nice vault for us to use. Of course, we need some piles of gold and treasure for us to be placing it over here, and actually, it's going to be a pile, I believe. Go, some piles. We're going to put it at the very corner on the very side like so, and just having it placed like this, it's going to make it so so much nicer. And now I'm thinking what else we could add? We could add a chest. I could add some treasure chests, and that's going to make it look extra nice as well. And I think I'll just put it over here, just like that, and maybe a couple of chests over here. On the upper end. I think that's going to be quite all right. Maybe we need some light as well, so we're going to set ourselves up with a light for it. So I think we can use the smaller torch. It's going to be torch too. And I'll just put it over here and that's going to be quite right. Now, let's see what other props we can populate this area with. We, of course, have some gems and rubies, but I think the default one is going to be quite right in regards to that. And we also have some scrolls that we can place on top of the cabinets, for example, I think that's going to be quite nice, or maybe that's not going to be as nice looking in this area. I think I'll just end up creating ourselves a new library over here, just like that, and we're going to place them out, like so. I'm not even going to use a snapping method snapping tool to create these since I want a bit more of an organic type of a look out of this. But that takes in order for us to set ourselves up with some nicer results in regards to the props. I think instead of setting up ourselves ourselves up with a shelf over on the over side, we're actually just going to bring ourselves up with a table, like so. That's going to look quite nice actually, and I'm going to get a tool underneath the table. As for the rest of the items, we can have a a really nice and fancy candle. I think that's going to look quite nice. Oh, that's a little bit too big, actually. I think having a smaller candle is going to be quite right. Like so. Having a couple of smaller candles, maybe, like so. Having some scrolls, maybe, make sure that they rotate it nicely on a table, and maybe some parchments. And yeah. That's all we got to do in order to set ourselves up with a nice mood and atmosphere within our level. Get ourselves up set with nice design within the scene. And just by doing that, we can change the entire room, the entire scenery of the room and setup and make this look like so much more of a nicer type of a layout. As for this, we can also add a couple of weapon racks, for example, that would look quite nice. So a couple of weapons over here. Maybe like so, going to be a couple of spare weapons, just in case someone attacks this place and whatnot. And it's going to look quite nice. Just going through the rest of the props. Maybe some crates over here as well just in case, we're going to rotate this one just so get C. There you go. I'm going to place it like so, and of course we need the crate as well, which had a much nicer typo. Maybe we have actually a barrel as well over on this end, just like that. I'm going to search for crate. I'm going to put it in this area over here. Going to stack them up a little bit ago. That's going to look so much nicer in regards to the entire aesthetic. I'm going to bring them to the side, break off the edges. It's all about breaking off the edges sometimes to make them look more organic in our overall centerpiece. Actually, I can place a couple of assets over here to make them look a little bit nicer. I'm actually going to just thinking what kind of assets we can put. We can put some helmets on. We can put a jug on top and ale. Someone has been drinking here. It's going to look quite nice. It looks like a bit of a hidden area. Maybe when no one is seeing, we can have a bit of a chug over here. I think it's going to look quite nice. In regards to that. I actually want a couple of helmets, so it's going to look like someone else been drinking with him. Of course, we should probably get ourselves another a someone placed both of the helmets down and decided to take a bit of a breaer from the patrolling work. And just like that, we can set ourselves up with a really nice type of a look. Maybe we should have some banners over here, actually, as well, now I think about it. I'm just going to place it over here, going to rotate it around like so and just like that. It's going to look so much nicer. And I think we should probably just move it out to the side over here. Like so. Maybe just going to search for banner. A and we got ourselves the second one. The second one. I'd prefer to maybe put it over on this side over here. Probably get ourselves the snapping mode back on and turn this 90 degrees like so. It's going to be placed nicely on the wall and maybe a little bit higher, like so. Very top, just like that. Okay. Where else can we place it? Maybe one over here as well. I get to look quite nice. And yeah. This looks a little bit empty though, so I'm just going to add a couple of extra props over here. Maybe a smaller torture device and there you go, that's the one I want. I'm going to put it on the side like so. Just going to rotate this a little bit using snapping tool mode turned off. There you go, that's going to look much nicer. In regards to that. And here we can have some empty bookcases, I think that's going to be quite right. Maybe this one over here. Going to be an empty one. Maybe we can squish it down even. It's totally okay to do that. And just like that, we're going to get ourselves a nice type of a look within this area. And maybe I'll just add a couple of extra bits over here as well. Maybe like a table again, just to make it look a little bit nicer over here. Like so. A couple of stools. That's going to look quite nice. We're going to grab both of them. We're going to hold old put it on the other end. And that's going to look quite decent the go. All right. So yeah, that's pretty much it in regards to how to make use out of them in our other scenes and our other levels. All we got to do is simply place them into our content folder, and then we can pretty much use it freely to our hearts content. That brings us to the end of our course, and it has been quite a journey. If you have made it this far, then I'm certain you will agree that it was worth it. We went through a variety of blended techniques in a manner of a progressive difficulty, creating and texturing a variety of different three D assets, then we continued on with the journey within real engine and actually set all of them up within a playable scene. At this point, you'll know how to create your own custom dungeon props and set them up as game assets to be used within any real engine project. I really hope you enjoyed the course, but more importantly, had an amazing process along the way. Thank you so much for taking the course, and please do leave a review, whether it be a good or a bad one as all the feedback is really valuable to us, and it helps us make our future courses better. Don't forget that we also have a variety of va courses available of over 300 hours worth of content within our page. So if you enjoy this one, that I'm sure you will enjoy the va ones as well. Once again, thank you so much for taking this course, and I hope to be seeing you soon.